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IN MUSIC NEWS

MARIE DAULN6

Zap Mama
Broadens
Appeal With
New Luaka
Bop Album

PAGE 9

FEBRUARY 1. 1997

ADVERTISEMENTS

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At 1 0, The Knitting Factory Is
A Powerhouse Of New Music

Retaii Eager For Live’s Set

Radioactive CD Seen As Strong Seller

Mart. “In iny mind, they’vt* always

■ BY BRADLEY BAMBARGER

NKW YORK— In 1988, the Knitting
Factory’s second year as an avant-
garde music venue and catalyst Tor
the downtown scene here,
a show ran on Japanese
TV describing the club as
the latest jazz hot spot.

Shortly thereafter, a bus-
load of about 50 touri.sts
arrived at the Knit's door
from Japan, looking to
hear some of the new’
jazz. But that night, the
club was hosting a rock hand, a noisy
one at that, characteristically follow-
ing a booking policy that sought to
bridge genres on either side of the
cutting edge.

Within the first feedback-laden
minutes of Sonic Youth’s set, about 25
of the Japanese vi.sitors streamed out
of the Knitting Factory onto the side-
walk on Houston Street, their mouths
aga])e and their fingers in their cars.

to turn a bunch of jwople on to great
music that they never would have
come into contact with othe»*wise. I’ve
alw-ays thought that if w'e continue
that, we’ll be doing our job.”

In February, the Knit-
ting Factory marks a
decade of doing its job
well enough to become,
arguably, the world capi-
tal of new^ music: experi-
menla! jazz and rock, con-
temporary classical and
ethnic sounds, as well as —
and most imporUint — var-
ious hybrid fonns. From .lohn Zorn to
Cassandra Wilson, from Bill Fri.sell to
Medeski, Martin & Wood, dozens of
vital improvisers have chased their
muses and deveIoi>ed tlieir followings
at the club. And rock bands from the
Pixies and Indigo Gii’ls to Soul Cough-
ing and Skeleton Key opened car.s
early on from the Knitting Factory
stage. Typically, the club’s manifold
(Conlinned on / km/c

■ BY MELINDA NEWMAN

NEW YORK — Retailers are fer-
vently hoping that Live's highly
anticipated third
album, “Secret
Samadhi,” due Feb.

18 on Radioactive/

MCA, will help bring
them out of the dol-
drums.

•This album might
start the ball rolling.

Everyone’s eyes arc
on I )2. but Live is the
one to fii*st gel some
jKJople liack in the stores.” says Vince
DeLeon, buyer for HaiTnony Hou.so’s
su|)ci*slores.

“This album is
going to 1x3 pretty
strong out of the
box,” agrees John Ajtale, buyer for
Carnegie, Pa.-based National Record

been a baby U2, and similarly to
U2, they definitely speak to a lot of
people.”

Wiiile such coni|)ar-
isons may be irksome
to Live (whose mem-
liei*s are admitted U2
fans), retailers and
radio programmers
inevitably <lraw*
unprovoked compar-
isons Iwtween tlie twu)
gi'oups. Most sec lave
as U2’s lieirappai*ent.
The two bands share
strikingly intense yet melodic songs,
often |>ep|H*rod with spiritual, (|ucs-
tioning oveilones.

The compar-
isons are espe-
cially heated now
because Live and U2 are (hiking it
(Conlin ned on page SJt)

UVE

BILLBOARD EXCLUSIVE

It was a moment the club’s owner.
Michael Dorf, w-ill always Imid dear.

“The important thing wasn’t that
half of them ran out. but that half of
them stayed and appreciated what
they heard,” Dorf says. “We were able

BBC’s ‘Country Night’
Expected To Spur Sales

■ BY PAUL SEXTON

LONDON — For a full week starting
Jan. 18, Dolly Parton has been telling
British television
viewers, “If you
thought country
music w‘as all ‘yee-
haw’ and cow-boy
boots, you’ve got a surprise coming.”
The surjjrise airivcd Saturday (25) on
BB(’2, for which tliat night was “Coun-
ti'y Night.”

That was the title of an ambitious
themed evening of programming
mounted l)y thesUite broadciLstor from
(('.ontinned on pagedJ)

Soundtrack Boom Offers
Exposure For R&B Acts

■ BY J.R. REYNOLDS

LOS ANGKLES— In the last five
yeai*s, the mimlxir of soundtracks in
the upper reaches of the Top R&B
Albums chart has exploded.

That’s good new’s for record com-
panies, not only Iwcause the alburns
are often strong sellers, but also
because they can sen e as powerful
marketing vehicles for introducing
promising new artists to consumei-s
and raising awareness of veteran
acts outside iheii’ already established
fan bases.

“ ‘Boomerang’ helped launch the
cai*eer of Toni Biiuxton,” says Colum-
bia marketing VP (U.S.) Demmctte
Guidry of the 1992 soundtrack that

featured Braxton’s “Give 1 1 My
Heart” and “Love Shoulda Brought
You Home,” "We hope to do the
same with Casslo on our upcoming
‘Love Jones’ soundtrack, ('assie’s
debut solo album hasn’t Iwen sched-
uled yet, l)ul w-e want to l)egin gar-
nering sonro early exiw.^ure for him.”
Columbia will release “Love
Jones” March II; in addition to
Cassie, the soundtrack features
Maxw(‘II, Dionne Fanis, Kenny Lat-
timore, (iroove Theory, (’assandra
Wil.son, Me’Shcll Ndcg(*oceHo, Brand
New Heavies, and the RefugtH? Camp
AJl-Stai's featuring the Fugees’ Laii-
ryn Hill and vocalists Melkey and
Day.

(Coviinned on jwgv H7)

All-Stars Belt Big Hits
On VH1 B’cast Event

■ BY BRADLEY BAMBARGER

NEW YORK — “It Wits a blast,” enthus-
es Sheryl Crow
about .singing her
favorite Rolling
Stones song,
"Bitch.” with Steve
Winwood, Stones
.saxman Bobby
Keys, and otlior luminaries in the City
Of Hopp.WHl All-Star Garage Band.
And that seems to Iw the exuberant
consensus with the rest of the super-
gi-ou|T — which included John Mellon-

BILLBOARD EXCLUSIVE

City of HojX*

camp, Bryan Adams, Melissa
Etheridge, Don Henley, Eddie Van
Halen, and Tony Rich, among othei*s —
(Continued on fnige

FOLLOWS PAGE 4A

SryKab B^c^u

FEBRUARY II, 1997

Copynghtac) malaria]

CONGRATULATIONS

TO OUR GRAMMY NOMINEES

FROM THE QWEST FAMILY

QUIN

^c.

No. 1 IN BILLBOARD

VOLUME 109 • NO. 5

• THE BILLBOARD 200 •

* TRAGIC KINGDOM • NO DOUBT • IRAUMA

BLUES

A HELPYOURSflf • PEGGY SCOrr-ADAMS • MISS6UICH

CONTEMPORARY CHRISTIAN

★ WHATCHA LOOKIN' 4

KIRK FRANKLIN AND THE FAMILY • GOSK) CENTRIC

COUNTRY

* BLUE * LEANN RIMES • CURS

GOSPEL

* THE PREACHER S WIFE • SOUNDTRACK • arista

HEATSEEKERS

* RIVEROANCE > BILL WHELAN • canc HEARTBEAT

KID AUDIO

* I0> DALMATIANS (UVE ACnON) * READ-ALONG ■ waltosney

THE BILLBOARD LATIN 50

* TANGO • JUUO IGLESIAS • CCXUMBlA

POP CATALOG

* GREASE • SOUNDTRACK • POiiOOR

RGB

* RHYME & REASON • SOUNDTRACK • BUZZ tone

I REGGAE

I * NATURAL MYSTK • BOB MARLEY & THE WAILERS • TUFF GONG

WORLD MUSIC

♦ RIVEROANCE • BIU WHELAN • cauc HEARTBEAT

• THE HOT 100 •

* UN-BREAK MY HEART « TONI BRAXTON • LAFACE

ADULT CONTEMPORARY

★ UN-BREAK MY HEART • TONI BRAXTON • lAFACE

ADULT TOP 40

★ DON'T SPEAK • NO DOUBT • trauma

COUNTRY

* NOBODY KNOWS • KEVIN SHARP • M3

DANCE f CLUB PLAY

★ THE BOSS • THE BRAXTONS • ATIANTIC

DANCE / MAXI-SINGLES SALES

* UN-BI?EAX MY HEART • TONI BRAXTON • lAFACE

LATIN

* ENAMORADO POR PRIMERA VEZ
ENRIQUE IGLESIAS • foncmsa

R&B

* I BELIEVE I CAN FLY • R. KELLY • WARNER sunset /A ltANTTC

RAP

★ CANT NOBODY HOLD ME DOWN
PUFF DADDY (FEATURING MASE) • BAD BOY

ROCK / MAINSTREAM ROCK TRACKS

* ONE HEADUGHT • THE WALL5LOWBTS • rTTERSCOPE

ROCK / MODERN ROCK TRACKS

* DISCOTHEQUE • U2 • 61AN0

* TOP VIDEO SALES •

* INDEPENDENCE DAY • FOXVOEO

HEALTH & FITNESS

★ THE HRM: TIME CRUNCH WORKOUT • 6MG VIDEO

MUSIC VIDEO SALES

* LES MISERAfiLES: lOTH ANNIVERSARY CONCERT
VARIOUS ARTISTS • COLUMBIA twstar home video

RECREATIONAL SPORTS

* THE 1996 WORLD SERIES VIDEO • ORION HOME VDEO

RENTALS

* THE ROCK * BUENA VISTA HOME VIDEO

No. 1 ON THIS WEEK'S UNPUBLISHED CHARTS

CLASSICAL

W APPALACHIA WALTZ

YO-YO MA / EDGAR MEYCT / MARK O'CONNOR » SONY QASSION.

CLASSICAL CROSSOVER

A STAR WARS: A NEW HOPE

LONDON SYMPHONY ORCHESTRA (WILLIAMS | « flCAviaog

JAZZ

* QUARTET • PAT METHENY GROUP • GEFFEN

JAZZ / CONTEMPORARY

♦ THE MOMENT • KENNY G • ARISTA

NEW AGE

★ UNUS & LUCY . THE MUSIC OF VINCE GUARAIXH
GEORGE WINSTON ♦ dancing cat

Restless Gets New Owner, New Distributor

Purchase By Regency Primes Label For Soundtrack Biz

■ BY CRAIG ROSEN

LOS ANGELES — Buoyed from its acquisi-
tion by Arnon Milchan’s Regency Enter-
prises and a newly inked distribution deal
with BMG, Restless Records is primed for
expansion and an entry into the lucrative
soundtrack business.

While the Holij'wood, Calif.-based Rest-
less had been in negotiations for months
with Regency, a successful film production
company, the label's pact with BMG for dis-
tribution was a surprise move.

Since Regency’s films are distributed by
Warner Bros., and Restless owns a 20%
share of Alternative Distribution Alliance
(ADA) — a joint venture with Warner Music
Group and Sub Pop Records — it was long
believed that Restless would ink with WEA
for distribution.

At one point, Restless w'as also being
courted by Columbia Records.

“It just felt right,” says Restless co-pres-
ident/CEO Joe Regis of the pacts w'ith
Regency and BMG, which were announced
simultaneously. Milchan and Strauss Zel-
nick, president/CEO of BMG Entertain-
ment North America, had a relationship
that helped seal the deal.

“Arnon and Strauss Zelnick hooked up
over the holidays, and there was just a gen-
uine enthusiasm for this deal from the top,”
says Regis, w'ho, along with Restless co-
presidenVCEO Bill Hein, held a subsequent
meeting with BMG Distribution president
Pete Jones.

“We have the best repertoire we’ve ever
had right now', and it’s a great time to be in
business with a major distributor,” Regis
adds. “We’re poised for significant gi’owth.”

Jones is also enthused about the oppor-
tunities. “Restless is an exciting young label
with additional resources," he says. “It is
going to be terrific for us.”

The first release under the new' deal will
be Lori Carson’s “Everything I Touch Runs
Wild,” which is due March 25.

As a result of its new affiliation with
BMG, Restless will sell back its 20% share
of ADA Feb. 28. Regis calls the parting \vith
ADA, w'hich he helped found, “bittersweet.”

On March 1, BMG w'ill make available
through its system Restless’ current releas-
es by the Golden Palominos, the Moog
Cookbook, and the Penny Dreadfuls.

In addition, on April 16, Restless w'ill
relaunch, via BMG, key catalog titles by
Soul Asylum, the Replacements, They
Might Be Giants, Flaming Lips, the Dead
Milkmen, Babes In Toyland, the Jayhawks,

and Ween. Some of the titles will be offered
at a midline price.

For Milchan— w'hose Regency is part-
nered with Australian businessman Kerry
Packer, Korean electronics company Sam-
sung, European TV business KirchGroup,
and athletic brand
Puma — the purchase of
Restless from Regis and
Hein represents the ful-
fillment of a 2-year-oId
dream.

While the acquisition
of a record arm to pro-
duce soundtracks for its
REGIS films was a logical inspi-

ration behind the deal,
Milchan says that he “didn’t w’ant to come
in just for soundtracks . . . We were look-
ing for a legitimate record company, like
Restless, with a specific taste that w'e can
build on and from with mainstream distri-
bution.”

Before pacting with Restless, Milchan
says, he considered a number of other
options. He had discussions about forming

a label with Elektra and such music indus-
try heavyw eights as producers Don Was
and David Foster and manager Peter
Asher. “But every time, [they talked to us}
because of the muscle w'e had as a movie
company, and it always felt WTong,” he says.

The combination of Regency with Rest-
less, Milchan says, is comparable to the
gi’owlh of Interscope, a film company that
launched a successful record company.

With Warner Bros., Regency has pro-
duced or co-produced such hit films as “Tin
Cup,” “A Time To Kill,” “Heat.” “JFK,”
“The Client,” and “Free Willy.”

According to Milchan, Regency acquired
Restless for a price betw'een $10 million and
$15 million, in cash and shares of Regency
stock. “But that’s not w'hat is important,”
he says. “What’s important is that w'e are
going to put millions of doIlai*s behind the
company.”

It w'ould have been “unfair” to Restless
to pact with WEA simply because Regency
has ties to Warner Bros, w'ith its film busi-
ness, Milchan adds. “We w'anted to be
(Continued on page 18)

Barbis Heads New P’Gram Unit

Will Run A&M Associated Labels

BY IRV LICHTMAN

NEW YORK— John Barbis, who left his
post last fall as president of PolyGram’s Is-
land Records unit, remains in the Poly-
Gram family as president of a newly creat-
ed division, A&M Associated Labels.

The division will pro-
vide marketing, sales,
and promotion support
for the Polydor and
Rocket labels. The divi-
sion’s scope could even-
tually grow' to include
other label entities with-
in the PolyGram orbit or
arrangements with out- barbis
side companies.

Barbis expects to make a permanent tran-
sition from New' York to Los Angeles, w'here
A&M chairman/CEO A1 Cafaro is head-
quartered, by the end of February.
“Because of Rocket’s New York home base,
I’ll be bicoastal, spending at least one week
a month in New York, a reverse of my prac-

tice at Island," says Barbis, w’ho will report
to Cafai*o.

Most of Barbis’ music industry career has
centered on the West Coast Patrick Jordan,
director of operations for A&M Associated
Labels, is also I'elocating to the West Coast

Barbis says the A&M Associated Labels’
“head count won’t be large — sort of like [the
recently established] 660 label at Sony or
early Reprise.”

A&M Associated I..abels’ staff of approx-
imately 25 employees is drawn from exist-
ing Polydor promotional and sales execu-
tives.

Among the executives at the new' venture
who previously worked for Polydor are
Dave Dams, VP of promotion; Bairy Lyons,
VP of rock promotion; Mark Chotiner, West
Coast regional director of promotion; and
John Rotella, VP of sales. These executives
now' report directly to Barbis.

Former Polydor regional staffers also
reporting to Barbis ai*e Jeff Davis, director
of promotion/Chicago; Steve Stoff, South-
(Continued on page 77)

THIS WEEK IN BILLBOARD

^PRIVATE PARTS*— THE SOUNDTRACK

Shock jock Howard Stern’s upcoming movie “Private Parts" will
be preceded by the release this month of the soundtrack, a mix
of classic and modern rock. Anticipating heavy demand, Warner
Bros, has prepared a major promotional push. Special correspon-
dent Jim Bessman reports. Page 10

U.K*S ALTERNATIVE OUTLET

London’s last FM license has been awarded to Xfm, the city's first
alternative rock broadcaster. Correspondent Mike McGeever has
the story. Page 69

■ BPI communications • Ctiavnun: Gerald S. Hobbs * Presidem & CEO: John B. Babcock Jr.
Executive Vice Presidents: Mark Dacay, Robert J. Dowling. Martin R. Feeiy. Howard Lander • Senior
Wee PresKlems. (teorgina Challis, Paul Curran. Ann Kaire. Rosalee Lovett • Vice President: Glenn
Keffeman • ChairTnan Emeritus: W.O. LWeford

CiCopyrignt 1997 by BPI Communications Inc. No part ol this publication may be reproduced, stored
in any retrieval system, or transmitted, in any ioim or any means, electronic, mechanical, photo-
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ARTISTS & MUSIC

MERCHANTS & MARKETING

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HOMEFRONT

BILLBOARD FEBRUARY 1 , 1 997

Copyrighted i

Billboard

EdHor In Chief: TIMOTHY WHITE

■editorial

Marufing Editor; SUSAN NUNZIATA
Deputy Editor: Irv LtchUnan
News Editor: Marilyn A. Gillen

Director of Special Issues: Gene SculatU; Daiet Brady. Associate Director
Bureau Chiefe: Craig Rosen (L.A.), Chet Rippo (Nashville),

Bill Holland (WasMi^on). John Lannert (Canbbean and Latin America)

Art Director: Jeff Nisbet: Assistant: Raymond Carlson
Copy Chief: Bruce Janicke

Copy Editors: Tammy La Gorce, Elizabeth Renaud, Carl Rosen

Senior Editors: Melinda Newman, Talent (N.Y.), Ed Christman, Retail (N.Y.)

Senior Writers: Chris Morris (LA.). Bradley Bambargcr (N.Y.)

R8lB Music; J.R. Reynolds. Editor (LA.)

Country Music/Nashville: Deborah Evans Rice. Associate Editor
Dance Music: Larry Flick. Editor (N.Y)

Pro AudioiTechnology: Paul Vema. Editor (N.Y)

Merchants fc Marketing: Don Jeffrey. Editor (N.Y.)

Home Video: Seth Goldstein, Editor (N.Y), Eileen Fitzpatrick. Associate Ed. (LA.)
Radio: Chuck Taylor. Editor (N.Y)

Musk VkJerVEnter* Active: Brett AtwoiMJ. Editor (L.A.)

Heatseekers Features Editor: Doug Reece (L.A.)

Staff Reporter: Terri Horak (N.Y.)

Administrative/Research Assistant: Shawnee Smith (N.Y)

Editorial Assistant: Gina van der Vliet (L.A.)

Special Correspondent: Jim Bessman
Contributors: (^therine Applefeld Olson. Fred Bronson.

Lisa Collins. Lairy LeBlanc. Jim Macnie. Moira McCormick.

David Nathan, Havelock Nelson, David Sprague. Phyllis Stark, Heidi Waleson

Intemationai Editor in Chief: ADAM WHITE

International Deputy Editor: Thom Duffy

International Music Editor: Oomink Pride

Intemationdl News Editor: Jeff Clark-Meads

German Bureau Chief: Wolfgang Spahr

Japan Bureau Chief: Steve McClure

Far East Bureau Chief: (^ff Burpee

Contributing Editor: Paul Sexton

■ CHARTS & RESEARCH
Director of Charts; GEOFF MAYFIELD

Chart Managers: Anthony Colombo (Mainstream Rock/New Age/

World Music), Ricardo Companioni (Dance), Oatu Faison (Hot R&6
Singles/Rap'Ciospel/Reggae). Steven Graybow (Adult (^ntemporary/

Adult Top Wjazz/Blues/Studk) Action), Wade Jessen (Country/Contemporary
Christian). John Lannert (Latin). Mark Marone (Modern Rock). Geotf Mayfield
(Billboard ZQO/Heatseekers/Catalog), Theda Sandifoid-Waller (Hot 100
SinglesAop R&B Albums). Marc Zubatkin (Vide<VCIasstcal/Kid Audio)

Chart Production Manager: Michael Ciisson

Assistant Chart Production Manager: Alex Vitoults

Archive Research Supervisor: Silvio Pietroluongo

Administrative Assistants: Joe Berinato (N.Y). Jan Marie Perry (L.A.),

Mary DeCroce (Nashville)

■ SALES

Associate Publisher/U.S.; JIM BELOFF

National Advertising Manager Video/Interactive: Jodie Francisco

New York: Kara DioGuardi, Pat Jennings. Ken Karp. Ken Piotrowski,

Deborah Robinson

Nashville: Lee Ann Photoglo

L.A.: Dan Dodd. Robin Friedman, Lezle Stein

Advertising Coordinators: Erka ^ngtson, Alyse Zi^nan

Advertising Assistants: Hollie Adams, Evelyn Aszodi, Fred Dahlqvist

Classified (N.Y): Jeff Serrettc

Associate Publisher/Intl.: GENE SMITH

Europe: (pristine Chinetti Catherine Flintoff. 44-171-323-6686

Asia-Padfic/Austr^ Steve Leece, 65-338-2774; Ronan Gardiner 852-2527-3525

Japan: Aki Kancko. 213-650-3171

Milan: Lidia Bonguardo, 39+(0)362-f 54.44.24

Paris: Francois Millet. 33-1-4549-2933

Latin America/Miami: Angela Rodriguez, 305-441-7976

MexiccyWest Coast Latin: Daisy Ducrct 213-525-2307

■ marketing

Director of Marketing: ELtSSA TOMASETTI

Promotion Director: Tony Santo

Promotion Manager: (>a^e Lashin

Promotion Coordinator: Phyllis Demo

Senior Designer: Melissa Subatch

Special Events Director: Maureen Ryan

PubIkisVSpecial Events: Michele Jacangelo

Circulation Manager: Jeanne Jamin

European Circulation Manager: Sue Dowman (London)

Tradeshow Manager/Circulation: Adam Waldman

Group Sales Manager: Jeff Somerstein

Circulation Promotion Account Manager: Tiish Daly Louw

■ PRODUCTION

Director; MARIE R. GOMBERT
Advertising Production Manager: John Wallace
Associate Advertising Production Manager: Lydia Mikulko
Advertising Production Coordinator: Ciiidee Weiss
Editorial Production Manager: Terrence C. Sanders
Associate Editorial Production Manager: Drew Wheeler
Specials Production EdKor: Marcia Repinski
Assistant Specials Production Editor: Marc Giaquinto
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Directories Production Manager: Len Durham

■ ADMINISTRATION
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Bixiord Muste Group

PRESIDENT: HOWARD LANDER
Senior VP/Gerteral Counsel; (Seorgna Challis
Vke Preskients: Karen Oertiey, Adam White
Director of Strategk Development: Ken Schlager
Business Martager: Jodlen Sommer

Truce Reached In Mechanicals Debate

Direct Distribution To Be Ended For Cooperation

■ BY JEFF CLARK-MEADS

CANNES — k cease-fire has been declared
in Europe’s mechanical rights war. At a
summit meeting held here during MIDEM,
agreement was reached that the controver-
sial system of direct distribution will be
abandoned in return for a concerted effort
from the collecting societies to reduce their
commission rates.

The company at the center of the contro-
versy, PolyGram International Music Pub-
lishing, has also agreed that as part of the
peace it will withdraw its complaints to the
European Commission about alleged illegal
restrictive trade practices from two of the
continental European societies (Billboard,
Jan. 25).

The new peace was hammered out at an all-
day meeting Jan. 21 in a hotel opposite the
Palais des Festival, where MIDEM took place
Jan. 19-23. Represented at the meeting were
senior executives from all the major publish-
ers and the heads of the mechanical royalty
collecting societies from the U.K. and the
European continent.

At the core of their discussions was direct
distribution, the service offered by the U.K.’s
Mechanical Copyright Protection Society
(MCPS), which deprives the group’s sister
societies on the European continent of tradi-
tional revenue streams. Under direct distrib-
ution, mechanical royalties paid by a record
company through a pan-European license to
MCPS are sent directly to the relevant pub-
lisher anywhere within the European Union
instead of going via the intermediary of the
collecting society within that counti*y. Though
MCPS had offered the service to all its mem-
bers, only PolyGram Publishing took up the
scheme.

Asked whether the dismantling of direct
distribution is a defeat for MCPS, chief exec-
utive John Hutchinson says, “It’s not a defeat,
because there have been major concessions
by the [continental] European societies.”

Those concessions entail an agreement that
all the societies within the EU, including
MCPS, will work together to reduce the aver-
age commission rate. A proposal document
prepared by French body SACEM/SDRM
says that for pan-European licensing deals,
the continental societies now work on an aver-
age commission rate of 8.34% of mechanicals
revenues. The Cannes agreement says that
this rate should be reduced to 6.9% by July,
to 6.2% by the end of 1998, and to 6% by July
2000. MCPS already operates on a 6% rate.
The proposal document notes that there is a
wide variation of commission lates across the
continental European bodies.

The leader of the continental societies,
SACEM/SDRM president Jean-Loup
Tournier, says he is relieved that the Cannes
agreement means all the collecting societies
within the EU are united once more. “This
deal puts an end to the big battle,” he says.
That big battle had seen the MCPS and Poly-
Gram Publishing largely ostracized by their
peers. MCPS was excluded from the board of
pan-European authors body BIEM, and
SDRM terminated its reciprocal rights rep-
resentation deal with the British body (Bill-
board, Jan. 18).

Achieving the Cannes agreement’s aims
will not, though, be without pain. Tournier is
ali*eady warning that it will cost jobs, saying
that SACEM/SDRM staffers who retire or
leave the company will not be replaced. Other
collection society executives were privately
indicating as MIDEM came to a close that
they, too, expected to cut jobs.

Tournier pledges that the societies will not
increase commissions on other revenue
streams to compensate for reducing their
.share of mechanicals revenue.

Despite its potential impact on jobs, the
peace is being widely welcomed. Says
Hutchinson, “Everybody has won. Our objec-
tive was to get more money more quickly to

Reinhold Kreile, president of German soci-
ety GEMA, says, “I think it was the best
result we could reach. We have established a
peaceful situation for the next four years. By
then, the market situation will have changed,
and we will have adapted. We are going to
have a better system of collective adminis-
tration.”

Luciano Bideri, president of Italian body
SIAE, welcomes the normalization of rela-
tions, obsening, “To quote Shakespeare, all’s
well that ends well.”

MIDEM ’97

Such an ending was not quickly achieved.
Tournier says that ail the societies have long
been aware of the publishers’ desires for
lower commission rates. Following the intro-
duction of direct distribution in July, leaders
of the continental Euro|>ean bodies met with
the heads of the six major publishers in New
York in October, then again three days later in
Paris. He says that the proposal document
issued under his auspices to the Cannes meet-
ing was a product of those discussions with
the publishers.

While the Cannes accord is subject to rat-
ification by the boards of the major publish-

ers, it already has been embraced by the com-
pany most likely to oppose it, PolyGram Pub-
lishing. Crispin Evans, director of legal and
business affairs for PolyGram, says, “This
deal will produce systems as fast as direct dis-
tribution.”

Part of the new arrangement is that the
societies that previously made payments on a
cycle of six months or longer have, according
to the proposal document, “unanimously
pledgee! to observe periods equal to or short-
er than six months.”

Of PolyGram Publishing’s complaint to
Europe’s competition authority, DG4, Evans
says, “The complaint will be withdrawn when
there is nothing to complain about.”

PolyGram has asked DG4 to investigate the
alleged restrictive practice elements of
SDRM’s termination of its reciprocal repre-
sentation deal with MCPS and the withhold-
ing of rebates said to be owed to PolyGram’s
record arm by Scandinavian mechanical soci-
ety NCB. PolyGram Publishing’s complaint
claimed that both these actions had been
taken in retaliation for the company’s pivotal
role in direct distribution (Billb^d, Jan. 25).

NCB managing director Thorkil Emborg
said Jan. 21 that his company had not yet
heard from DG4. However, of the Cannes
accord, he said, “We’re happy with this solu-
tion.” Noting MCPS’ expressed desire to
assist the continental societies in creating efil-
ciencie.s, Emborg added, “It benefits all of us
(Continued on page 76)

I comemoHCKPSuvES

A roimdup of MIDEM -newa compiled by Emmanuel Legrand., Chrbttkm Lorenz, Jeff Clark-
Meads, and Mike McGeever in Can7ies.

N EW VID CHANNELS FOR BRITAIN: MTV Europe is set to roll out two music channels
targeting the U.K. market before the end of the year, it was officially announced at MIDEM.

MTV in the U.K. will replace the broadcaster’s current northern service, which carries
MTV Europe. The new programming will be geared to the musical tastes and lifestyles of
Britain’s 16- to 34-year-old age group, according to the announcement.

The second channel, M2, will be imported from the U.S., where it was launched in August
of last year (Billboard, May 4, Sept 7, 1996). This channel’s programming will be “free form”
and include clips featuring alternative music, B-sides, and some current hits, according to
MTV Networks chairman Bill Roedy.

Fund for french INDIES: French Minister of Culture Philippe Dousle-Blazy
announced at MIDEM the creation of a yearly 2 million francs ($370,000) fund dedicated to
helping finance Fi*ench independent music pr^uction. The fund will be financed by the Min-
istry of Culture (contributing 800,000 francs) and the FCM, an industry-financed organiza-
tion supporting musical creation (1.2 million francs). Bernard de Bosson, prt‘sident of inde-
pendent production companies organization UPFI, says that this fund “is better than nothing
but is far from what the situation requires.” De Bosson says that to really answer the needs
of indies the fund should operate with no less than 20 times the original amount. De Bosson
says that the best system, already operational in the cinema industrj; would be to create a
tax on record sales, the proceeds from which could finance the fund. This tax could be imple-
mented if the value-added-tax rate on music were lowered, according to de Bosson.

XhIS YEAR'S MIDEM DREW 9,481 participants representing 3,904 companies, according
to the Reed MIDEM Organisation (RMO). In terms of exhibit space, Japan’s Avex D.D. was
the largest firm in attendance. Meanwhile, RMO chief executive Xavier Roy says that he
exj)ects 2,500-3,000 individual participants at the MIDEM Latin America & Caribbean .show
in Miami Beach, Fla., in September. He adds that Reed MIDEM has no plans for events else-
where in North America.

IsiJVND READIES FOR ANNIVERSARY: Island Records has announce<l a three-year cam-
paign leading up to the label’s 40th anniversary in October 1999. As part of the campaign, the
company plans to release seven compilation albums highlighting the label’s development from
its first single, a jazz side by Jamaican guitarist Ernest Ranglin in 1959.

The first of these eompDations covers 1959-63 and will be released in June. The .second is
scheduled for release in October. In addition to the compilation series, Island plans to issue
three tribute albums of contemporary artists covering the hits of the label through the years.
The first will be released in September.

FuGEES to PERFORM AT ECHO AWARDS: International hip-hop stars the Fugees will
perfonn at the sixth German Echo Awards show in Hamburg March 6. Werner Hay, managing
director of the German Phonographic Academy, which organizes the event, says, “We are
extremely happy about the strong interest in Echo. We have received more inquiries from
artists who would like to perform at the awards than we actually can fit into the schedule.”

Hay and Phonographic Academy chairman and Warner Music Germany managing direc-
tor Gerd Gebhardt say that they resist the temptation to let top names rule the show, and
that they make a point to reserve time for new talent Hay explains, “Introducing new artists
to our audience remains our prime target.”

BILLBOARD FEBRUARY 1 . 1997

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ATLANTIC GROUP

William Morris Agency
To Launch Record Label

BY DON JEFFREY

NEW YORK— The Wmiain Morris
Agency, a m^jor talent firm that rep-
resents musical artists on tours and
in film and TV appearances, has
made the unprecedented decision to
start a record label.

The firm, whose clients include
acts such as Whitney Houston,
Sheryl Crow, Stone Temple Pilots,
Mary Chapin Carpenter, and the
Eagles, disclosed its plans for a

record company after receiving clear-
ance from a performers union on Jan.
18.

Richard Rosenberg, executive VP
of William Morris and head of its
music department, says the agency
has not yet signed any artists, hired
any executives, or forged a distribu-
tion deal, but he adds that some
details will be announced within a few
months. He declines to reveal the
projected investment in the venture.

(Continued on page 82)

Paradigm Expands Via
Labei, Web Site Buys

BY ED CHRISTMAN

NEW YORK— In
the last month. Par-
adigm, a year-old
music company, has
acquired a label, an
Internet music site,
and appears to be
planning an initial
public offering.

In its first label wolin
acquisition. Para-
digm has bought Big Deal, a New York-

Austin, Arista
Rework Deal

BYJ.R. REYNOLDS

LOS ANGELES — Rowdy Records
CEO Dallas Austin and Arista have dis-
solved their joint-venture label rela-
tionship in an amicable split that the
prolific producer hopes will broaden his
creative and entrepreneurial talents.

Austin retains the rights to the
Rowdy name but leaves the roster’s
mainstream-oriented acts, such as
Monica, For Real, and debut act QT, at
Arista. He also remains contractually
committed to producing a designated
number of records for Arista over the
next four years.

Says Austin, "I’ve enjoyed a great
one-tvr'o punch relationship with Arista,
but the time is right for me to pursue
avenues that v^ill allow me to grow in
more creative directions.”

Austin’s reworked deal with Arista
gives the producer the best of both
worlds. He will continue to chum out
commercially viable records for upcom-
ing Arista acts such as Aretha
Franklin, Monica, Hall & Oates, and
LaFace’s TLC. He will also be able to
explore the most fertile comers of his
producing talents through Rowdy’s
new independent "boutique” status.

“I’ve grown a lot since first coming
into this business,” Austin says. "I’m
into owning my own stuff and want to
build a company that will become a
great asset”

The new Rowdy will be indepen-
dently financed and distributed. The
first act slated for release is male R&B
vocalist Boo Boo, who was originally
scheduled to debut last summer (Bill-
board, May 11, 1996).

Rowdy’s current staff of 13 is expect-
ed to be trimmed; however, an exact
count was not available at press time.

(Continued ofn page 82)

Rocket Man. MCA Records executives recently honored Elton John with two
awards backstage following a private concert for radio contest winners in New
York. John was presented a gold record for his current greatest-hits album,
‘'Love Songs," and a lifetime achievement award commemorating sales of
more than 52 million records as an MCA artist. Shown, from left, are Skip Bish-
op. senior VP, promotion; Abbey Konowitch, executive VP; Doug Morris, chair-
man/CEO, Universal Music Group; John; Jay Boberg, president; Jayne Simon,
senior VP, marketing and sales; and Robbie Snow, VP, product management.

based indie specializing in power pop.
Terms of the deal were not released,
but the move allows
Paradigm to form a
division called Par-
adigm Associated
Labels (PAL),
which includes Par-
adigm Records and
Big Deal. PAL also
handles marketing
BROWNROUT and distribution for
indie label Evil

Teen.

The company also recently formed
Archive Recordings. That label, which
is not part of PAL, owns the rights to
4,000 rock concerts, which will be
culled for release in
the form of live
albums. The first
titles from Archive
wOl be live concerts
of Deep Purple and
Nils Lofgren. Even- 1
tually, Archive will
release about 40
albums a year.

Paradigm has

also acquired SonicNet, an online music
site that was ov^med by Prodigy Ser-
vices Corp. and Sunshine Interactive
Network.

According to published reports and
sources. Paradigm is planning to hold a
public offering that could raise $12 mil-
lion in cash to finance its plans. When
Paradigm was formed by Tom McPart-
land, a former BMG executive whose
responsibilities included overseeing
BMG Ventures among other duties, he
said that the company would contain
labels and a new media production divi-
sion, and focus on nontraditional music
programming.

The company was financed by a $3
(Continued on page 88)

McPARTLAND

CD Ubrehouse Makes Stock Offering

Chain Seeks Money To Buy Up Franchised Stores

NEW YORK— CD Warehouse, a ft^-
chised chain of 120 music stores whose
sales come mostly from used CDs, has
gone public with an offering of 1 mil-
lion shares at $5 each.

The Richardson, Texas-based retail-
er has defied Wall Street sentiment,
which has turned against music mer-
chants in recent years. Publicly held
music chains have seen their stocks
plunge because of the overbuilding of
stores, price wars, and sluggishness in
the music industry. Retailers such as
Tower Records and Strawberries had

considered stock offerings but put
aside plans because of weak market
conditions.

CD Warehouse, however, operates
in different niches than most other
music retailers.

Prior to the initial public offering,
CD Warehouse owned only one store.
The other 119 outlets were franchised,
which is rare in the music business. But
the retailer says it plans to use pro-
ceeds from the offering to acquire fran-
chised stores and increase the number
of company-owned stores.

Jazz Label GRP Cuts Staff As Part Of Streamlining

This story was prepared by Michael
Amicone, managing editor of the Bill’
board Bulietbi.

NEW YORK — In an attempt to
streamline staff and refocus the com-
pany’s energies on its core artists, pre-
eminent jazz label GRP Recording Co.
has let go 22 of its 59 staffers.

Several executives were handed
pink slips Jan. 15, with cuts occurring
in the label’s urban promotion, busi-
ness affairs, and creative services
departments. GRP’s business affairs
will now be handled by its parent com-
pany, Universal Music Group.

No roster cuts were made and none

are anticipated, according to a label
spokesman.

GRP Recording, which houses the
GRP, Impulse!, and Blue Thumb
Records imprints, was co-founded by
Dave Grusin and Larry Rosen. Its ros-
ter includes some of the most
renowned names in jazz, including con-
temporary jazz artists (ieorge Benson
and the Rippingtons and traditional
jazz artists McCoy Tyner and Diana
Krall.

“I felt that it made sense for us to
concentrate on our core business,
which is jazz and adult music, which
takes in NAC,” explains president
Tommy LiPuma. “TTiis is where GRP

traditionally has always been a leader,
and it still is a leader.”

Regarding the across-the-board
staff trimmings, LiPuma says he hopes
to never have to oversee a terminaUon
of this sort again. "I feel terrible about
it. I had close relationships with a lot
of these people. It’s never easy. It’s not
something that I like doing, and I hope
that I never have to do this again in my
lifetime.”

As for GRP’s future, LiPuma con-
cludes, "I see GRP staying the leader
of adult contemporary music. I’m try-
ing to build a roster of artists that will
mean something — and mean catalog
down the line.”

"We need our o\\ti company stores
so we can lead by example,” says Gary
Johnson, executive VP/CCK).

The chain will use some capital to
acquire all or a portion of 36 franchised
stores owned by its largest franchisee,
Bruce MacDonald, who will join CD
Warehouse as VP of company store
operations.

Johnson says the company will open
about a dozen stores this year, and
franchisees will open another 20-25.
Stores average about 2,000 square feet

Besides the franchising angle, the
chain’s product mix is different from
other major retailers. In most CD
Warehouse stores, more than 75% of
sales are from used CDs. No cassettes
are sold. Profit margins on used prod-
uct are high. Stores buy used CDs fi*om
customers for $1 -$5 and resell them for
$6-$9.

Margins are generally weak on new
product because of price competition.
Accounts pay distributors $1()-$12 for
a CD and sell it for $1 1-$17. Despite the
reduced margins, CD Warehouse says
it is going head to head with electronics
chains like Best Buy and Circuit City,
which offer consumers low-ball pricing.

"We can compete wth Circuit City
and Best Buy on all new releases,” says
company founder Mark Kane. “We
make our gross profit margin on the
used. We’ve come up with a vehicle that
(Continued on page 83)

Buena Vista
Pumps Up Its
Video Promos

■ BY EILEEN FITZPATRICK

LOS ANGELES — Facing increased
competition for consumer video dollars,
Buena Vista Home Video has put
together its largest promotional game
plan ever in hopes of
spurring sales over
the next seven
months.

Buena Vista will
release or repro-
mote 36 titles,
including a second
direct-to-video
“Winnie The Pooh”
feature and “Sleep-
ing Beauty.” The latter title, due Sept
16, has been off the market since the
late ’80s.

The extensive plan also includes two-
pack configurations of fourth-quarter
Disney titles, which will have a mini-
mum advertised price of $24.99.

"It stands to reason that you want to
reward Disney buyers,” says Buena
Vista senior VP of marketing Dennis
Rice. “The Value Packs provide huge
savings and customer loyalty for the
(Continued on page 75)

Fox Ptanning
Start-Up Of
Kid-Vid Label

■ BY SETH GOLDSTEIN

NEW YORK — There should be a new
video kid on the block this year.

Twentieth Century Fox Home
Entertainment plans to introduce a
children’s label in 1997, according to
president Robert DeLellis. Under its
banner will be consolidated all the pro-
gramming that Fox Home Entertain-
ment has already released, including
the best-selling (^oosebumps series and
the most recent addition, the Saban
Entertainment catalog.

“We’re formulating the plan right
now,” says DeLellis.

The Saban agreement is the first of
several that DeLellis expects to
announce over the next few months. By
itself, the Saban agreement is “a m^or,
m^or venture,” he adds, giving Fox
Home Entertainment access to 3,700
half-hour children’s shows, produced
(Continued on page 83)

Court: No Distribution
For ‘Cops’ Competitor

LOS ANGELES — The producers of
the video series “Cops” have arrested
the sale of a competing product from
Diamond Entertainment

Under a preliminary injunction
granted on Jan. 21 by U.S. District
Court Judge Gary L. Taylor, Diamond
must halt distribution of “Real Cops In
Action” because it “incorporates the
look, design, and feel” of the Bar-
bour/Langley produced “Cops,"
according to court papers.

“Cops” is dLstributed by Real Enter-
tainment, a recently formed video off-
shoot company of Barbour/Langley
Productions.

In the complaint Barbour/Langley
(Continued on page 76)

BILLBOARD FEBRUARY 1. 1997

Tracy Chapman 5 '

Natalie Cole 2 '

Yo Yo Pantera

En Vogue Jimmie Dale Gilmore

Busta Rhymes

David Foster 4 ■

Neal McCoy Tori Amos

Junior Brown 2
Tracy Lawrence

Jewel 2 '

Brandy 3 '

LeAnn Rimes 2' Clannad
Stone Temple Pilots

Stan Freberg

Arif Mardin

Tim McGraw

Linda Ronstadt

Luis Miguel

Martin Sauer
Donald Runnicles

Dawn Upshaw

Nikolaus Harnoncourt

Lorraine Hunt

Jennifer Larmore 2 ■ orchestra and Chorus.

Chanticleer San Francisco Opera

William Christie

Les Arts Florissants

Ton Koopman and

Amsterdam Baroque Orchestra
and Chorus

Bo Diddley
Marvey Mason

Mike Stern

Bill Whelan

John Adams

Gipsy Kings

Gidon Kremer

Sanford Sylvan

Eric Clapton

Alanis Morissette 2

Elvis Costello

Edward Van Halen

Alex Van Halen

Kent Nagano

Adam Sandler
Gregg Geller

T.J. Kirk Don Grolnick

The Winans

The Associates

Bela Fleck & The Flecktones

Dwight Yoakam 2 ■

Neil Young & Crazy Horse

Little Texas

Curtis Mayfield 2'

Texas Tornados

R.E.M. 2'
Chaka Khan 3 '

Elektra

EastWest

Take 6 2 '

Randy Newman
Bob James

Jeff Foxworthy

Coolio 3
Travis Tritt 2

Tamia 3 ’

Asylum

Sire

F«bruary 26, 1997
be a etar^ night.

Ami we're promt $o form tAe tergeet comMimimi

Joe McEwen

Enya

Quincy Jones 6‘

Me'Shell Ndegeocello 2'

Faith Hill

Ernestine Anderson

Mammoth

Mesa/Bluo Moon

TAG

Curb

143

Atlantic

Fazer

UFO

Magneoton

Finlandia

Erato

PWL

Atlantic Nashville Atlantic Jazz
Big Beat Blackground Blue

Modern Atlantic Theatre Breaking Records

Michael Jackson

Keb Mo Shawn Colvin 2 *

Sheryl Crow . Korn

WARNER/CHAPPELL WRITER-ARTISTS

White Zombie Gin Blossoms

Marty Stuart 2‘

Stephen Sondheim

Celtic Heartbeat

Lava

Rhino

WEA ZTT

East West
Teldec Nonesuch

China

Warner Alliance Giant
Maverick

Revolution
Warner Nashville

Tommy Boy
Warner Bros.

Qwest

Reprise Nashville

American Recordings

Reprise

Congratulations to our Grammy nominated stars.

WXRNER MUSIC GROUP

ujeaf’Q I s?.. w

P1997 WARNER MUSIC CROUP. A TIME WARNER COMPANY

NUMBER OF MULTIPLE NOMINATIONS

2 YEARS. 7 MILLION ALBUMS.

Dave Matthews Band performed at the

53rd PRESIDENTIAL INAUGURAL GALA

1 997 Award Nominations:

GRAMMY AWARDS

Best Rock Album for Crash / Best Rock Song for Too Much

Best Rock Performance by a Duo or Group w/Vocal for So Much To Say

AMERICAN MUSIC AWARDS

Best Pop/Rock Duo or Group

BLOCKBUSTER MUSIC AWARDS

Favorite Group/Modern Rock

SALES OF Crash

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RADIO & VIDEO FOR Crash Into Me

tVE MATXHEWS
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Management:

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Heavy rotation at MTV; Enters MTV Top 20 Countdown this week

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Moby Rocks Out On
Elektra’s ‘Animal Rights’

■ BY LARRY FUCK

NEW YORK— With the Feb. 11
retail arrival of his second Elektra
album, “Animal Rights,” Moby com-
pletes a two-year transition from
dance music kingpin to punk
upstart — a move that is meeting with
largely positive feedback from rock
i*adio tastemakers and his longtime
fans.

Launched by an appropriately
rambunctious rendition of the Mis-
sion Of Burma chestnut “That’s
When I Reach For My Revolver,”
the project started drawing airplay
nearly two months ahead of the
label’s official solicitation date of
Monday (27) — thanks to the circula-
tion of an import pressing of “Animal
Rights,” released in Europe last Sep-
tember.

“Normally, an import can hurt a
project, but it has helped us tremen-
dously in laying the groundwork for
Moby at rock radio,” says Dane Ven-
able, senior director of marketing
(U.S.) at Elektra. “This audience has
always been infatuated with Moby,
but there’s never been one song they
could wTap their arms around and
call their owm. It quickly became
clear that we finally had it here.”

Rock radio programmers clearly
agree. “That’s When I Reach For
My Revolver” is already in active
rotation on WBCN and WFNX
Boston, as well as on WHFS Wash-
ington, D.C., among other stations.
Additionally, a promo-only CD fea-
turing the single, several cuts from
the album, and a nonalbum cover of
Devo’s new-wave classic “Whip It”
has gotten play on a string of college
radio stations.

“We’ve discovered that there’s
been a bubbling interest in Moby
from our listeners since he did Lol-
lapalooza in ’95,” says Laurie Gail,
music director at WFNX. “The reac-
tion to this cut has been tremendous

so far. The album is definitely strong
enough for us to pi'obably go sever-
al cuts deep into it.”

Venable attributes much of the
easy access Moby is having in rock
circles to a string of high-profile pro-
jects following his
critically lauded
1995 album,
“Everything Is
Wrong.” In addi-
tion to doing Lol-
lapalooza, he has
also opened for
Soundgarden and
MOBY Red Hot Chili
Peppers, pro-
duced “Walk On Water” by Ozzy
Osbourne for the “Beavis & Butt-
head Do America” soundtrack, and
remixed singles for Metallica and
Smashing Pumpkins. “This has all
added up to a nurturing support
from the rock community and a lot
of added cachet to an artist who was
already perceived as being incredi-
bly hip,” Venable says.

With “Animal Rights,” Moby
leaves behind a seven-year associa-
tion with the dance music world — a
sector that saw' him pioneer the tech-
no movement w'ith such club classics
as “Go” and “Voodoo Child.” It was
during his jaunt with Lollapalooza
that Moby began to rethink his styl-
istic focus.

“I couldn’t help but notice that
while dance music had become kind
of conservative and dull, the world of
rock music had become, for me, pret-
ty exciting,” he says. “I was once in
love with dance music. I thought it
was my salvation for the longest
time. But there’s not a lot going on
with it right now that is meaningful
to me.”

From that point, he locked himself
in his New York studio last year and
began writing and producing what
he describes as an array of “terribly
(Continued on page 76)

Zap Mama Expands Sound

Luaka Bop Act Getting Global Push

BY TERRI HORAK

DAULNE

NEW YORK — Zap Mama’s third
album “7,” due woiidwide in Februaiy,
represents a number of changes for
the w'orld music act that label execu-
tives say will likely broaden the
group’s appeal to mainstream pop
audiences.

The album is
scheduled for
release Feb. 3 out-
side Noith America
by Virgin, and Feb.

25 in the U.S. and
Canada on the
Warner Bros.-dis-
tributed Luaka Bop
Records.

The most notable difference for Zap
Mama, a female vocal group that has
emphasized ti*aditional African musi-
cal roots, is the addition of instrumen-
tation and rap, R&B, and reggae influ-
ences. About half of the album’s songs
are in English, w'hich is another new
feature for the group.

Tracks include collaborations \vith
Spearhead’s Michael Frenti on a cover
of the Phoebe Snow classic “Poetry
Man” and with reggae artist U-Roy on
“New World,” as well as a striking ren-
dition of Etta James’ “Damn Your
Eyes.”

“There certainly has been a growth
spurt for the band,” says Luaka Bop
president (U.S.) Yale Evelev. “They’re
pretty well known in world music, but
this record could go beyond that. I see
them getting a lot of new attention.”

Label founder David Byrne adds,
“As fans, we were curious to see w'here
[group leader] Marie [Daulne] w'as
going to take their sound. She’s bor-
rowed from other styles and done
something that’s really her own. It
doesn’t sound like, ‘Oh, she made a pop
record.’ It still has something a bit
undefinable.”

Zap Mama founder Daulne, who
more formally becomes the focal point
of the act with “7,” says the shifts
occurred naturally. “Sometimes we
change and we don’t know exactly

what’s happening. Maybe it’s because
I’ve become a mother and I need
something different.”

The Zaire-born, Belgium-bred
singer says a cappella music can be
moi'e of a cei ebral experience for the
listener. “With instruments, music
talks to the body; drums and bass
make your body move.”

Daulne says she learned to rely on
the instillments to drive the music and
did not have to push her voice as hard
on this project as she had on the pre-
vious releases. While “7” is still filled
with her powerful deliveries, working
within a band context has allowed her
to explore subtler expressions as well.

Daulne adds that the chance to col-
laborate with other artists opened her
up to a w'ealth of musical experiences.

She and Frenti met several years
agow'hen they w'orked on the “Blue In
The Face” soundtrack and immedi-
ately felt a bond. “He grew' up in the
U.S. and I grew up in Europe, but we
have the same philosophy and vision,”
she says.

Virgin signed Zap Mama for territo-
ries outside North America in late
(Continued on page 76)

Bloodhound Gang
Is On A ‘Fierce’
Roll With Geffen

■ BY DOUG REECE

LOS ANGELES — After a few' false
stalls, Philadelphia-based modein i*ock

BLOODHOUND
GANG

act the Bloodhound Gang is hitting its
stiide with “One Fierce ^er Coaster”
on Republic/Geffen.

The band’s 1994 EP, “Use Your Fin-
gers,” W'hich W'as released on Cheese
Factory (now Republic) and picked up
by Columbia, w’as largely ignored by
radio and retail, making the warm
reception for the band’s current mod-
ern rock single, “Fire Water Burn,”
that much sw'eeter.

(Continued on page 77)

Elvis Guitarist Scotty Moore Back
in Studio For Sweetfish’s ‘Men’

BY CHET FLIPPO

NASHVILLE— His long, self-
imposed retire-
ment behind him,
the man w'ho creat-
ed the guitar
sound for Elvis
Presley’s early and
defining hits — and
W'ho laid down
standards for rock
guitar in the moore
process — is
returning to touring and recording
at the age of 65. Scotty Moore, who
w'alked offstage and quit the music

business after Presley’s triumphant
1968 TV comeback, “Elvis,” is reunit-
ing W'ith Presley's drummer D.J.
Fontana for an album and documen-
tary project tentatively titled “All
The ling’s Men.”

Moore, Fontana, and the late
bassist Bill Black were initially
called the Blue Moon Boys when
they began backing Presley in 1955
but w'ere subsequently given the
King’s Men sobriquet even though,
Moore says, Presley hated the
“king” title.

Now', Moore and Fontana — ^who has
continued w'orking as a session and
(Contimied (m page 6B)

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BILLBOARD FEBRUARY 1, 1997

Artists & Music

Infinite Zero To Reissue
Monks’ ‘Black Monk Time’

■ BY CHRIS MORRIS

LOS ANGELES— Three decades
after they played their last gig, it’s
finally “Black Monk Time” in the
U.S. for the Monks, a confrontation-
al quintet of American ex-G.I.s who
cut their one legendary proto-punk
album in Germany and never played
in their home country.

On Feb. 11, Infinite Zero, the
American Recordings reissue
imprint operated by label chief Rick
Rubin and musician Henry Rollins,
will release “Black Monk Time.” The
original 12-track album will be aug-
mented on CD by four non-LP single
sides, two raw demos, and a live
track. The copiously illustrated 16-
page CD booklet will include com-
prehensive notes by Mike Stax,
whose extensive 1992 spread about
the band in his San Diego-based
garage-punk fanzine Ugly Things
rescued the group from obscurity.

“Our big dream was someday to
play in the United States, and final-
ly, 30 years later, inadvertently we
get to do that,” says Monks bassist
Thomas Edward “Eddie” Shaw. “It’s
been an amazing journey.”

Released in April 1966 by German
Polydor in a stark black sleeve,
"Black Monk Time” was never issued
in the U.S. However, a fanatical cult
has developed around the Monks
here and abroad.

In his 1995 book “Krautrocksam-
pler,” English musician Julian Cope
called the Monks album “one of the
most chilling electrifying freakouts
of all time.” American Recordings
A&R and marketing executive Johan
Kugelberg, a longtime fan of the
album, names Mark E. Smith of the
Fall, Mike D. of the Beastie Boys,
Stephen Malkmus of Pavement, and
Jon Spencer of the Jon Spencer
Blues Explosion among the Monks’
rabid followers.

“The Monks are the lost godfa-
thers of punk,” Kugelberg says.
“Sonically and conceptually, ‘Black

Monk Time’ is a record that deserves
to be waved around in the pantheon
with [the Mothers Of Invention’s]
‘Freai Out’ or [the Beach Boys’] 'Pet
Sounds’ or ‘Kinks Kontroversy’ or
other milestone records of the mid-
’60s.”

Interest in the band was also
stoked by the 1994 publication of an
extraordinary memoir, also called
“Black Monk Time,” by Shaw and
Anita Klemke.

Bred in the same German “beat
club” milieu that the Beatles found in
Hamburg in the early ’60s, the
Monks developed into one of the
most radically imaged, aggressive,
and prophetic bands of their day.

The future members of the Monks
began playing together on an army
base in Gelnhausen, Germany, in
1962. After leaving the service, the
young musicians formed a beat band,
the Torquays, that worked the Ger-
man club circuit. In 1965, the group,
under the direction of new manage-
ment, restyled themselves as the
Monks.

The band appeared in custom-
made black outfits, wearing neckties
cut from lengths of rope, with the
tops of their heads tonsured in the
manner of clerics. Shaw says, “I sup-
pose that image, as our managers
used to tell us, was a powerful image
. . . [Teenage audiences] were totally
intimidated.”

The band played amped-up, lyri-
cally pared-down music that incor-
porated several innovative elements.
Guitarist-singer Gary Burger made
extensive onstage use of feedback,
and played with wah-wah pedals and
fuzz boxes, which were then new on
the market Shaw’s playing was also
high-volume and highly distorted.

Joining Larry Clarke’s screaming
organ work and Roger Johnston’s
thudding, tom-tom-heavy drumming
in the rhythm section was the band’s
startling offensive weapon, banjoist
Dave Day. His strumming, violently
(Continued on page 76)

Stern’s ‘Private Parts’ Going Public

WB Plans Major Promo For Shock Jockos Soundtrack

m BYJIMBESSMAN

NEW YORK — The self-proclaimed
“king of all media” is primed to conquer
another realm: music.

Howard Stem, who has had tremen-
dous success in radio, books, home
video, and pay-per-view, attacks record
racks this month with the Warner
Bros, release of the soundtrack to “Pri-
vate Parts.” The film, which opens
March 7, is based on Stem’s autobiog-
raphy of the same name.

The “Private Parts” album, due Feb.
25, will contain a mix of classic and
modern rock, including Porno For
Pyros’ “Hard Charger,” the first sin-
gle. The track is being hailed as a
Jane’s Addiction reunion for regroup-
ing Pyros Perry Farrell and Stephen
Perkins \vith fellow former Addiction
bandmate Dave Navarro and his cur-
rent Red Hot Chili Peppers bandmate.
Flea.

The disc will also include movie dia-
log and additional exclusive Stern
material (including a track on which he
sings lead vocals). The release will pig-
gyback not only on the already massive
Stem-generated ad\'ance promotion of
the film via his nationally syndicated
daily radio show, but also on his pow-
erful multimedia track record.

“Let me give you some superla-
tives,” says Jeff Gold, Warner Bros,
executive VP/GM (U.S.). “ ‘Private
Parts’ was the fastest-selling autobi-
ography in the history of book publish-
ing, and its follow-up, ‘Miss America,’
was the fastest-selling book, period. He
did the biggest-ever in-stores in the
history of the book business, drawing
between 10,000 and 20,000, and his
[Dec. 31, 1993] New Year’s special was
the biggest-grossing entertainment
pay-per-view’ in history.

“His nightly show’ on E! Entertain-
ment [a half-hour taped segment of his
radio show] is the No. 1 show on the
network, and everywhere he goes with
his radio show he’s incredibly success-
ful,” (jold continues. “So he really is the
‘king of all media’ — like he always
says — and I think the ‘Private Parts’
album will do phenomenally well.”

Moreover, the soundtrack to the

movie is “obviously much closer to
what Howard does — and to his fan
base,” adds Gold, who Is executive pro-
ducer of the album along with Peter
Afterman and Rick Rubin. “The fan

ZOMBIE STERN

base is into music, and music is a big
part of Howard’.^ show every day.”

It has become an even bigger part
since November 1996, when the show
moved into a new, band-friendly studio,
w’hich is four times the size of its for-
mer home and features state-of-the-art
technology. Live artist performances
have thus increased dramatically.
Bush, Stone Temple Pilots, Cheap
Trick, and White Zombie are among
the many acts that have already played
there live on-air.

“No matter what we’ve done, the
thing most people mention is having
heard us on Stem,” says White Zom-

■ BY PAUL SEXTON

STOCKHOLM— The Abba legacy
has been passed from father to
daughter, with spectacular results.
Anderson Records, formed here one
year ago by Marie Ledin, the
daughter of former Abba manager-
ial guru Stig Anderson, is celebrat-
ing a remarkable first few months
in business.

Before 1996 was out, the label —
distributed by Warner Music Ser-
vices and with a staff of just two —
had scored tw'o local No. I’s with its
first tw’o albums, and a third with
one of its protegees on another

bie’s Rob Zombie.

Danny Buch, senior VP of promotion
(U.S.) at Atlantic Records, notes that
Stem “preaches to all America” when
it comes to the 18-34 demographic.
Buch says that sales increases in prod-
uct by artists like his label’s Stone
Temple Pilots were dramatic following
their recent appearances on the Stem
show.

“If Howard adopts your artist, it’s
the best thing that can happen,” says
Bush.

Making a similar observation, Har-
vey Leeds, senior VP of artist develop-
ment and VP of promotion (U.S.) at
Epic Records, adds, “He’s absolutely
one of the biggest rock’n’roll stars on
the planet”

Voicing excitement for the sound-
track at the retail level is Bob Bell,
new-release buyer for the 265-store
Wherehouse Entertainment chain.
“We certainly expect ‘Private Parts’ to
be a huge record,” says Bell, w’ho
acknowledges the controversial air per-
sonality’s numerous critics but points
at his indisputable track record.

“There are sure to be skeptics, but
time and time again he’s proven them
wTong,” Bell says. “He wrote two of the
(Continued on page 8S)

label. Not to mention coaxing a
member of Sweden’s most famous
pop group out of
retirement.

“Djupa Ande-
tag,” the first
album in 12
years by former
Abba singer
Frida, nee Anni-
Frid Lyngstad,
w'as released in
September with
the catalog number Anderson 1,
and topped the Swedish sales
chart within seven days. The 12-
(Continued on page 68)

Anderson Taps Abba Legacy

Swedish Label Finds Early Success

EXECUTIVE TURNTABLE

RECORD COMPANIES. Mike Dungan

is promoted to senior VP/GM at
Arista/Nashville. He was senior VP of
sales and marketing.

Arista Records in New York pro-
motes Steve Bartels to senior VP of
special markets and appoints Joe
Reichling regional director of West
Coast promotion in Los Angeles. They
were, respectively, VP of special mar-
kets and promotion manager for
Atlantic Records.

Doug Daniel is named senior VP of
promotion for black music at Island
Records in New York. He was senior
VP of promotion at Elektra Records.

Dale Connone is promoted to VP
of promotion for Epic Records in
New York. He was VP of singles pro-
motion.

Steve Ellis is promoted to VP of
promotion for Mercury Records in
New York. He was VP of pop pro-
motion.

Pat Shields is promoted to VP of

DUNGAN BARTELS

black music marketing for Warner
Bros. Records in Los Angeles. She
was VP of black music artist relations.

Dale Libby is appointed VP of sales
for Sony Music Nashville. He was
sales manager for Sony Music in New
York.

Jon Nardachone is promoted to
director of rock promotion for Atlantic
Records in New York. He was man-
ager of hard rock promotion.

Ray Farrell is named A&R repre-
sentative for Geffen Records in Los
Angeles. He was alternative sales
director.

Mike DePippa is appointed nation-
al manager of college radio and mar-
keting for the Elektra Entertainment
Group in New York. He w’as national
manager of college radio for EMI
Records.

Pyramid Entertainment Group in
New York promotes E’lyse Murray
to VP and Michael Schweiger to
managing director and appoints
Stephanie Friedman director of pub-
lic relations. They w'ere, respectively,
managing director, head of the dance
department, and head of her o\vn P.R.
firm.

Christopher Roker is named
national director of urban/NAC radio
promotion at Sin-Drome Records in
Los Angeles. He was head of his owm
marketing and promotions company.

PUBLISHING. Clyde Lieberman is
promoted to VP of East Coast cre-
ative operations for BMG Songs in
New York. He was senior director.

Sony/ATV Tree in Nashville pro-
motes Dale Esworthy, Dee Hale, and
Phil May to VP. They were, respec-
tively, controller, director of copy-
right, and director of publishing

UB6Y UEBERMAN

administration.

MCA Music Publishing in Nashville
appoints Bart Butler associate direc-
tor of creative services and promotes
Beau Bruce to professional manager.
They were, respectively, professional
manager at Zomba Music Publishing
and catalog coordinator.

RELATED FIELDS. Gillian Baylow is
appointed executive director of the
Mr. Holland’s Opus Foundation in
Toluca Lake, Calif. She was special
projects assistant for the National
Assn, of Music Merchants.

BILLBOARD FEBRUARY 1. 1997

Congratulations

on your debut single

(Joe Rich / Don Du Bose)

/7'."-^e weeks at No. 1!

From his Asylum Records/143 Records debut

MEASURE OF A MAN

( 61930 - 2 / 4 )

. Produced by Chris Farren

% ■

Visit Kevin's web sites in February:
http;//www.wilma.com/spotlight/1997/february/kevin_sharp/
http://www.edge.net/cupit/kevin.htm

kStlUH MCOIBS « (UKtSA E«U(tAI«Nt»T SiieUP. A BIllSIOI Of HAIKA {OMHUIICAIIOIS UC.. A (INI W»A(» (ORAAAT

Artists & Music

Sloan Strives To Stiite ‘Chord’ In U.S.

Canadian Band Reunites For Enclave Set

I BY LARRY LeBLANC

TORONTO — Following a split with
DGC/Geffen and then a band breakup,
the members of Canada’s Sloan have
reunited and will release their third
album, “One Chord lb Another,” world-
wide (except Canada) March 11 on
EMI-distributed the Enclave.

The album was Hrst issued in Cana-
da last June on the band’s own mur-
derecords label, distributed by Univer-
sal Music Canada. According to the
group’s manager, Chip Sutherland of
Pier 21 Management in Halifax, Nova
Scotia, the album has sold 80,000 units
in Canada to date.

The Enclave executives have high
expectations for the set worldwide.
“We’re going to be very aggressive
with [promotion and marketing of] the
album, both in the U.S. and interna-
tionally,” says Steve Backer, head of
marketing for the Enclave. “Our feel-
ing is that, besides the U.S., the rest
of the world can do really well with
Sloan, particularly Japan and Europe.
However, we clearly have to make [the
record] a hit first in the United
States.”

According to Valerie Delong, head of
promotion, there is sizable anticipation
for the album in America. “We’ve found

there is a tremendous number of Sloan
fans here, and a tremendous amount of
knowledge about the band,” she says.

Says Backer, “The band is very
strong in the Buffalo, Cleveland, and
Detroit markets.”

To set up the album in the U.S., the
Enclave will first service U.S college
and alternative rock stations with the
leadoff track, “The Good In Everyone.”
“We’re building [the track] from there,
and we’ll eventu^y cross it over at rock
and top 40 formats,” says Delong.

To further set up the album, the label
will issue a two-disc version consisting
of both “One Chord To Another” and a
10-song “collector” CD featuring eight
cover tracks (including tracks original-

Walker’s Got The Spirit
On New Benson Live Set

I BY GORDON ELY

In five years as a m^r-label gospel
recording artist, Hezekiah Walker has
gone from obscurity to stardom. The
34-year-old Walker’s fifth and latest
release on Benson Music, “Live In Lon-
don,” hits the street March 11.

Raised in Brooklyn, N.Y.’s Fort
Greene housing
project, Walker
assembled the
first incarnation of
his Love Fellow-
ship Crusade
Choir (LFCC)
while still in his
early 20s. Inde-
pendent albums in walker

’87 and ’90 sold

well and helped him build a strong local
following. He moved up to Benson in
1991, releasing “Focus On Glory” the
following year. But Walker’s watershed
moment came in 1993 when his sopho-
more effort for the label, “Live In
Toronto,” topped the gospel charts. All
of his subsequent recordings have gone
top five or better.

“Hez was one of the handful of
artists that started the youth move-
ment in gospel,” says Mike Rapp, VP
of marketing and creative services for
the Benson Music Group. “Songs like
‘Clean Inside,’ ‘Jesus Is llie Light,' and
*99V^’ became anthems for the young
gospel church. He became the musical
teacher and mentor to a whole move-
ment.”

In 1994, Walker’s third project, “Live
In Atlanta At Morehouse Ollege,” won
the Grammy Award for best gospel
album by a choir or chorus. “Live In
New York/By Any Means” in ’95, and

ly recorded by the Modern Lovers, the
Everly Brothers, Roxy Music, the Hol-
lies, Canned Heat, and April Wine) and
new versions of two older Sloan songs,
“I Can Feel It” and “I Am The Cancer.”
The additional CD, says Delong,
“was recorded in a party atmosphere.
We’re doing a limited run of probably
20, (KX) to 30,000 [albums] for the same
price” as the single CD version.

'Together since 1991, Halifax-based
Sloan consists of Chris Murphy
(vDcals/bass), Patrick Pentland (vocals/
guitar), Jay Ferguson (vocals/guitar),
and Andrew Scott (drums).

The band made its recording debut
on the 19-track Dalhousie College sta-
tion CKDU compilation “Hear And
Now ’92.” The DTK Records release
featured an early version of their song
(Continued on page 16)

Eight Ball In The Side Pocket. Following an appearance at the Beacon
Theatre, members of Capricorn/Mercury act Cake challenge their label to a
friendly game of pool at Amsterdam Billiards Club in New York. Shown, from
left, are Cake’s Victor Damiani; Capricorn president Phil Walden Jr; band
manager Bonnie Simmons; Mercury executive VP/GM David Leach; band
members Vince DiFiore, Greg Brown, and John McCrea; and Mercury man-
ager of product development Bigi Ebbin.

“Shakin’ 'The House . . . Live In LA.”
with Fred Hammond and Yolanda
Adams in ’96 have continued to polish
Walker’s golden touch and solidify his
place at the forefront of contemporary
gospel.

Wiile the London trip was not Walk-
er’s first time overseas, Rapp reports
that European interest in Walker and
the LFCC’s music has grown dramati-
cally during his career.

“Hezekiah packed the Wembley
Auditorium with over 3,000 people, and
the atmosphere was electric,” says
Rapp. “There was dancing in the aisles
. . . screaming, shouting. You would
have sworn you were in Brooklyn.”

Walker is an ordained Pentecostal
minister who founded and runs the
flourishing Love Fellowship in Brook-
lyn. Several major urban artists have
come through his church and choir on
their way to mainstream success,
including Aaron Hall and SWV’s Ck)ko.
Walker and the LFCC have also just
put the finishing touches on a track to
appear on Sean “Puffy” Combs’ forth-
coming album.

A number of high-profile appear-
ances have helped establish Walker and
the LFCC in mainstream markets.
Numerous bookings on “The Today
Show” and a profile on the “ABC
Evening News” with Peter Jennings
have accompanied the LFCC’s appear-
ance on the 1996 Grammy Awards
show, backing Whitney Houston, CeCe
Winans, and Shirley Caesar. Walker
and the choir backed Hootie & the
Blowfish at a sold-out show last year at
New York’s Apollo Theatre, and are
featured on “The Lord Is My Shep-
herd,” a cut on the hit soundtrack to
(Continued on page 16)

Neil Young Joins H.O.R.D.E.; Ronnie
Asks Joey To ‘Be My Baby’

I HIS JUST IN: Neil Young will be the headliner on this
year’s H.O.R.D.E. tour. Organizers are still working out
the festival’s time frame and other acts on the bill.

HAT A DUO; Joey Ramone and Ronnie Spector will
go into a New York studio in February to cut four songs for
a new Spector project that Ramone and Daniel Rey are

producit^. Ramone has long been a

fan of Specter’s; as many of you
know, the Ramones covered the
Ronettes’ “Baby, I Love You” on
their Phil Spector-produced 1980
album, “End Of The Century.”

“Ronnie’s always been a real inspi-
ration to me,” says Ramone. “This
really kind of came together through
a cosmic connection.” Joey Ramone
says that last October Dee Dee Ra-
mone asked him to sing the
Ronettes classic “Be My Baby” at a
gig at New York’s Lakeside Lounge. “Then the next day,”
says Ramone, “I got a call from Ronnie, asking me if 1
would sing a song with her that she’s going to record. It
was pretty weird.”

That supposed duet turned into a production deal with
Ramone and Rey. Among the songs they will cut this month
are the Ramones tunes “She Talks 'To Rainbows” and “Bye
Bye Baby,” on which Ramone and Spector will duet, and
Brian Wilson’s “Don’t Worry Baby,” which he originally
wrote for Spector years ago.

“We want to do a record that is pure Ronnie,” says
Ramone. “She’s the original punk bad girl, before there
was a Patti Smith or a Deborah Harry. The way people
would produce her now would kind of be past tense. The
vision we all have is not to re-create, but to create.”

Ramone notes that there is already label interest

Ramone and Spector will appear together at a Valen-
tine’s Day benefit for God’s Love We Deliver at Coney
Island High in New York. In other Ramone news, he and
Rey are producing the Independents, a Florence, S.C.,
group that Ramone discovered.

This could turn UGLY: The long-building tension be-
tween Nine Inch Nails’ Trent Reznor and TVT head Stev-
en Gottlieb seems to be growing. Charles Ortner, attor-
ney for Reznor and his label, Nothing Records, sent a
cease-and-desist letter to Gottlieb Jan. 13, stating that pur-
suant to the 1992 agreement between Nothing, TVT, and
Interscope, TVT is prohibited from using the names of Rez-
nor or Nine Inch Nails in institutional advertising. The let-
ter claims that an ad in the Jan. 1 1 issue of Billboard violates
this agreement and is damaging to his clients’ reputations.

(^ttlieb’s attorney Paul LiCalsi’s reply to the cease-
and-desist letter counters that the ’92 agreement “in no

by Melinda Newman

way affects TVT’s rights ... to tell the truth: Le., that Nine
Inch Nails is a TVT/Interscope recording artist” 'The true
damage in the letter, alleges LiCalsi, has come from Rez-
nor’s “repeatedly [misleading] the public regarding TVT’s
true role with respect to NIN and Nothing Records, active-
ly creating the false impression that TVT was simply
‘bought out’ of its rights and interests by Interscope.”

LiCalsi tells Billboard that he has
not received a response to his Jan. 20
letter, adding, “I would hope that
[Nothing and Reznor] would have the
good sense not to bring a lawsuit, but
if they do, TVT is ready.” Ortner did
not return phone calls by press time.

H EY HEY WE’RE THE MON-
KEES: The Monkees are taping a
special that will air on ABC in late
February. The special, directed by
Michael Nesmith, will be reminis-
cent of the foursome’s ’60s TV show, combining sketches
and music. No word yet if Davy Jones’ eyes will sparkle
whenever he falls in love (approximately every 20 minutes),
or if Nesmith will be wearing his green knit hat All four
Monkees will go on tour (Nesmith joined the other three
for only one date last year) in the U.K in March and the
US. this summer.

X HIS AND THAT: Duran Duran co-founder and bassist
John Taylor has left the group. According to one source,
geography is to blame: 'Taylor lives in Los Angeles, while
the other members of the group live in London. “It’s been
very difficult musically to work from two different conti-
nents, and he wants to be with his daughter,” says the
source. Another source adds that while the split is amica-
ble, as 'Taylor explored other musical opportunities, such
as soundti^ks, side projects like the Neurotic Outsiders,
and running his Internet-only label, he became more inter-
ested in becoming independent than staying in a band.

A solo record by Taylor, which was released last year on
the Internet by his label, B5, will be commercially released
in March by Montreal-based Derock Records and distrib-
uted in the U.S. through Alliance.

Taylor remains on Duran Duran’s new album, which will
be released by Capitol Records in May. According to a
source, the band has not begun looking for a new bassist.

“They’re busy working on other projects,” says the
source. “They perform the theme song to the movie ‘'The
Saint,’ and both [keyboardLst] Nick Rhodes and [guitarist]
Warren Cuccurullo hav^ been working on other things,”
including a Blondie greatest-hits package on EMI that
contains two new songs by the reunited band. Rhodes and
Cuccurullo wrote and produced “Studio 54” and “Pop
Trash Movie” for the late spring/early summer release.

BILLBOARD FEBRUARY 1. 1997

Copyrighted mair

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had the

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Artists & Music

Bosstones Face Ska-Happy Market

Mercury To Focus On Radio, Use Band’s Live Profile

■ BY STEVE MIRKIN

In the ZVz years since the Mighty
Mighty Bosstones released its last
album, “Question The Answers,” the
punk/ska sound has become a force on
the charts.

Was this luck or design? Bosstones
lead singer Dicky Barrett has no
doubts: “I take full responsibility for
it” he deadpans. “It’s major planning.
1 knew that the Bosstones tx^oming a
great band would coincide with the
world wanting to hear this type of
music." And what of a certain South-
ern California band whose ska-influ-
enced album has topped The Billboard
200 for the last several weeks? “They
don’t even know they’re a pawn in my
master plan.”

On a more serious note, Ban'ett says
that the current vogue for ska will not
affect the band. “Trends come and go.
and I know that when this one comes
and goes, we’ll still be the Bo.sstones.”
That sentiment is echoed by Mercury
executives regarding the Boston-based
band’s new album, “Let’s Pace It,” due
March 11.

Allison Hamamura, the b^l’s senior
VP/GM, West Coast, says that the
Bosstones are not “cashing in on a
trend. This is what they do; this is who
they are.” The focus on their new
album was to “wTite better songs and
make a sonically better album. They
were very patient, %'ery deliberate.”

Barrett concurs, claiming that the
improvement in quality was the result
of the band’s new attitude in the studio.
“We took our time and didn’t let any-
one push us or say when it had to be fin-
ished. We weren't gonna release this
until it was ready.” The result, Hama-
mura says, is “a more commercially
accessible record.”

Marty Maidenberg, Nfercury’s VP of
product development, also thinks that
the wait between albums has helped
commercially. “'They’ve been stuck in a
situation where they’ve been ahead of
the curve for so long, that they sort of
sat back and watched as the industry
caught up to their style of music.” From
his perspective, retail and a fan base are
already in place, but radio is now ready
to embrace the Bosstones. Radio will be
the label’s “prime focus ... we feel the
Bosstones are right there in the mix of
what radio is playing.”

To give the new album some context
and remind programmers and listeners
that the Bo^tones are not jumping on
the ska trend, the label has readied two
samplers that will be available approx-
imately two weeks before the album’s
first single, “The Impression I Get,”
goes to radio Feb. 10.

The first is a cassette that will con-
tain snippets from “Let’s Face It,” the
single, and a selection of songs from the
Bosstones’ previous albums.

Mercury’s college field reps will be
distributing the cassette on campuses
and to nontraditional retailers. A CD
sampler will be sent to the appropriate
rock and pop formats and will include
the single, some older songs, and a cover
of Kiss’ “Detroit Rock City,” which was
previously only available on the Kiss
tribute album “Kiss My Ass.” The label
will also use the subscription list of the
band’s newsletter to get the word out to
hard-core fans. In early February, the
Bosstones will embark on a two-week
prerelease tour, including a Feb. 13

THE MIGHTY MIGHTY BOSSTONES

appearance at the Gavin convention.

While Maidenberg thinks that the
band’s energetic live act will get radio
excited about the band, he also says that
the Bosstones’ rabid audiences will be
an asset “When I saw them five years
ago,” he says, “I was shocked at how
many kids knew every word to every
song and the energy in the mosh pit —
there’s no comparison of any mosh pit

to the Bosstones’.” The night prior to
the album’s release, the band plans to
perform in-stores in Boston and New
York.

Touring has never been a problem
with the Bosstones. “We tour con-
stantly, and the records come out peri-
odicalV,” Barrett says. “We’re always
on the road . . . This is what we do.”

Hamamura, who was the Bosstones’
booking agent at William Morris before
working at Mercury, says that the band
takes touring very seriously, and that
it will take its time before deciding on
a tour for “Let’s Face It,” including any
summer package tour. “We can always
get them out,” Maidenberg says. “This
time, we’re looking to expand on what
they’ve done before.” To that end, he is
considering booking the band in an
opening slot on a m^jor tour. “Anything
that gets them in front of 20,000 peo-
ple a night is good.” The tour will be
accompanied by in-store and radio
(Continued on page 16)

amusement

[

DUS

3 S Sl

BOXSCORE

TOP 10 CONCBIT BROSSES

ARTIST(S)

Venue

Daie(s)

Cress

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Anendanca

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three

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EMI Graham
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SMFRMOSCOIKW
lEAR'S EVE BLOCK PURTE
CHRIS ISUK.
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'Blur BUKO.

PETE ESCOVEOa LOS
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Copyrighted and compiled by Amusement Business, a publication of Billboard Music Group. Boxs-
cores should be submined to: Marie Ratliff, Nashville. Phone: (61 5J-32 1-4295. Fax: (6151-321-
0878. For research information and pricing, call Marie Ratliff, (6151-321-4295.

BILLBOARD FEBRUARY 1. 1997

Liza Minnelli Gently

Nominated for Best Traditional Pop Vocal Performance

Minnelli

Nominated for Best Traditional Pop Vocal Performance

Bernadette Peters I'll Be Your Baby Tonight

ORICINAL I<I96 BROADWAY
CAST RECORDING

NATHAN LANE Q

A FtJNNY THING HAPPENED
ON THE WAY TO THE fl9R(j5vf

Nominated for Best Musical Show Album

NMtMilirfak) £

STEPHEN SONDHEIM "

Mki

BITRT SHEVELOVE tni LWRY GELBART

Phil Rartione A Funny thing Happened On The Way To The Forum

ORIGINAL 1996 BROADWAY
CAST RECORDING

NATHAN UNE (

A FUNNY THING HAPPENED
ON THE WAY TO THE FORui^

Nominated for Best Musical Show Album

Stephen Sondheim A Funny thing Happened On The Way To The Forum

STEPHEN SONDHEIM

BITIT SHEVELOVE wd LARIO' GELBART

Artists & Music

16 BILLBOARD FEBRUARY 1. 1997

Copynghici

WALKER’S GOT THE SPIRIT ON NEW BENSON LIVE SET

(Continued from, page 12)

“The Preacher’s Wfe,” on which they
back R&B and gospel great Cissy
Houston. A remix of the gospel smash
“99V4” garnered good airplay and club
acceptance, especially in m^or East
Coast markets, and was Walker and the
LFCC's introduction to mainstream
radio.

definitely broke the ice for
Hez at urban radio,” says Earl Sellars,
VP of marketing and promotion for
Benson’s parent company, the Music
Entertainment Group. “We plan to con-
tinue building on that.”

“The lines of demarcation between
gospel and urban are not nearly as
broad as they are in other forms of
music,” says Rapp. “Hez has now be-
come an artist, not just a gospel artist.”
Still, satisfying Walker’s original fan
base in the gospel market remains a
lal)el priority. “We work Hezekiah’s
albums one single at a time,” says Sel-

lars. “We go to gospel radio first, giving
recognition to where his core audience
is. Then we’ll service the singles to key
urban markets. Gospel radio is the
foundation. We service the CBA [Chris-
tian Booksellei^ Assn.] stores, where
about 40 percent of Hez’s product
moves. When we see significant move-
ment at mainstream retail, we know we
have the basis to then take a record to
urban radio.”

Walker, not surprisingly, is content
to leave such matters to the Almighty
and the marketing department. “I just
do what I do and see what happens,” he
says. “I don’t worry about crossover.
That’s all in God’s hands. If he sees fit
for our music to cross over, then I’m all
for it. I know that part of my purpose is
to reach the unreached, but the other
part of it is to continue ministering to
the people who are saved . . . who have
already received the message.”

Walker performs an average of 50
dates a year, traveling mostly on week-
ends and taking with him a rotating
group of 40 singers from his choir of
120. He is booked and managed by the
Walker Group, which is based in Brook-
lyn, and all his shows are ticketed
events, as opposed to free concerts.

“I cho(^ the cities in which we play
as well as record two different ways,”
says Walker. “One, of course, are the
places where we’re well-known and
draw large audiences. The other is
places where people are either not that
familiar with gospel — and we can
break some new ground and share
something that’s new to them — or
places where they don’t get a chance to
hear good gospel very often. Part of
why we went to London was to show
other gospel acts that if we could do
well there, they can too.”

Sellars confirms Walker’s vision of

himself as a man with multiple mis-
sions. “The most important thing about
Hezekiah Walker,” Sellars concludes,
“is that he’s not just a recording and
performing artist He’s become a spir-
itual leader. Young people today are

looking for leaders, and Hezekiah has
emerged to help fill that need. This is
an extraordinary young man. I think
there’s no limit to what he can accom-
plish in music and in society. The ceiling
is unlimited.”

SLOAN REUNITES FOR ENCUVE SET

(Continued from page 12)

“Underwhelmed,” later the leadoff sin-
gle of both the band’s 1992 “Pepper-
mint” EP on murderecords in Canada
and “Smeared,” its debut album for
DGC, released in Canada in October
1992 and in the U.S. in January 1993.

According to SoundScan, “Smeared,”
recorded at a cost of only $1,200, has
sold 19,000 units in the U.S. and, ac-
cording to Sutherland, 60,000 units in
Canada.

After DGC failed to make headway
in the U.S. with the band’s 1994 album,
“Twice Removed,” relations between
band members, already strained by
recording their second album and by
touring North America, soured even
further. According to SoundScan,
“Twice Removed,” has sold 8,000 units
in the U.S. and, according to Suther-
land, 58,000 units in Canada.

Although it continued to perform
until spring 1995, the band was only
“going through the motions” by the end
of 1994, says Murphy. He adds, “We
were dormant as an artistic vehicle.”

Following an informal breakup that
lasted only a few months, Murphy went
on to drum for the Canadian band
Super Friendz. Scott played with two
local bands, Sadies and his own group,
the Maker’s Mark; Pentland wrote
songs; and Ferguson co-produced
Canadian acts the Local Rabbits and
the Inbreds.

Meanwhile, Murphy and Ferguson
also worked closely together at the
band’s murderrecords, which has a cat-
alog of recordings by Thrush Hermit,
Eric’s Trip, Jale, and the Local Rabbits.
The two decided that what the label
needed to boost its profile, as well as
help it financially, was a Sloan project.
Scott and Pentland agreed to partici-
pate. The time-off period had cooled the
hard feelings between the band’s mem-
bers.

In 1995, Sloan released a 7-inch sin-
gle, “Same Old Flame”/“Stood Up,” in
Canada on murderrecords. Recorded
on 4-track, it gave the band confidence
to record an album together once more
and indicated the lo-fi Erection it would
follow with “One Chord To Another.”
With the time off, “it became apparent
to everybody the band \vas still fim and
we were better at [playing),” says Mur-
phy.

While “Twice Removed” took seven
weeks and cost $120,000 to record,
“One Chord To Another” was recorded
during a two-week period between the
end of December 1995 and January
1996 at Idea of East Recording studio
in Halifax, with producer/engineer
Laurence ('urrie. It cost $10,000.

“It was all the money we had,” Mur-
phy admits.

As with their previous records, all
four band members wrote, sang, and
oversaw the recording of their own
songs. As a result, the set sounds more
like a compilation album than a single-
band pi*oject

“Sloan is about four different char-
acters,” saj's Murphy. “One thing that
makes the songs go together is that we

recorded the drums on a 4-track cas-
sette recorder, so the album has a lo-fi
character.”

Represented for bookings by Little
Big Man in the US. and S.L. Feldman
Agency in Canada, Sloan will tour the
U.S. for much of 1997 after the album’s
release. “It’s important that we align
them with the right band as a co-he^-
liner or in a support situation,” says
Backer. “We’re not interested in the
band slo^ng it out in front of 100 peo-
ple in clubs in wintertime. They’ve
already done that”

Adds Murphy, “I’m really psyched
to go down and tour in the US. again.”

MIGHTY BOSSTONES

(Continued from page U)

appearances. “They work hard,” Maid-
enberg says. “They go out there, and
they work a market”

According to SoundScan, the Boss-
tones’ last set, “Question The Ans-
wers,” sold 131,000 copies, but for this
album, Maidenberg says, all bets are
off. “In the past we were caught in this
niche market where they sold up to a
[certain! quantity and then leveM off.
We don’t feel there’s a cap on that level
anymore. They’ve gone from being a
genre-specific artist to a mainstream —
even top 40 — artist” The expectations,
he concludes, “are pretty much unlim-
ited . . . we’re expecting a platinum act
on this.” He says that the 1^1 will com-
mit “m^or” co-op dollars for listening
booths and advertising. The press, he
says, has also picked up the anticipa-
tion, and mainstream publications, such
as Request Pulse!, and Us, are prepar-
ing articles on the band.

The Bosstones have always been
heavily and successfully merchandised,
with their own Big Rig imprint press-
ing limited-edition, colored vinyl that
was sold at shows. Maidenberg says
that Mercury will continue this prac-
tice, but that he is wary of taking it
beyond a certain level. “We want to stay
away from tchotchkes and things of
that nature,” he explains. “We don’t
want this band to be perceived as a nov-
elty or a one-off. We want them taken
seriously based on this album.”

When all is said and done, there
seems to be a genuine affection at Mer-
cury for the Bosstones. After la>ii^ out
the label's plans for the band, Maiden-
berg and Hamamura made comments
that were so similar, they could be
taken for a company line if they did not
seem so heartfelt.

“After seven years,” Maidenberg
says, “to be able to say that the newest
album is the most exciting or most ful-
filling and what you feel most proud
of— you can’t alwaj's say that But I can
say it about this album.” Hamamura
notes that “it’s nice to work with a band
who has |)aid their dues and done their
best work to date.” Pausing a beat she
adds, “We hope to give them everything
that they now deserve.”

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Artists & Music

Elvis’ Manager, Col. Tom Parker, Dies

Ruffled Many Feathers While Steering Presley’s Career

BY CHET FUPPO

NASHVILLE — The flamboyant man-
ager known as Col. Tom Parker, who
was not named Tom Parker and was
not a colonel, died in Las Vegas Jan.
21. The cause of death was complica-
tions from a stroke. He was 87.

Parker, who gained fame as the
manager of Elvis Presley, began as a
carnival barker and applied those
same shrewd skills to the pop music
business. He first helmed the careers
of country crooner Eddy Arnold and
Canadian idol Hank Snow and later
shepherded a young Presley to unpar-
alleled rock superstardom. Along the
way he ruffled many feathers. He is
famous for his remark, just after Pres-
ley's death in 1977, that “this does not
change anything.”

In many ways, Parker wrote the
book on pop star man^ment — in the
most positive and negative senses. He
made Presley the best known and rich-
est performer on the globe, yet he was
severely criticized for holding back
and even perverting Elvis’ talents and
squandering or mismanaging hun-
dreds of millions of dollars.

It is said that he also prevented

Pictured in a scene from the early
days, from left, are Col. Tom Parker,
Eddy Arnold, and Elvis Presley.

Presley from ever touring outside the
U.S., because Parker was an illegal
alien, had no passport, and was afraid
that if he ever left the country, he
would not be allowed to return.

The man who would become Col.
Thomas A. Parker was born as
Andreas Cornelius Van Kuijk in
Breda, the Netherlands, June 26, 1909.
At age 20, he stowed away on a
freighter headed for the U.S. He
turned up as Tom Parker in Tampa,
Fla., where he worked for a carnival,
the Johnny J. Jones Exposition, in a
variety of positions. He was a trainer
for the Great Parker Pony Circus,

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which he claimed was owned by an
uncle. His best-known act was a danc-
ing chicken exhibition in which the
chickens were forced to “dance” on a
disguised hot plate.

He successfully ran for dog catch-
er in Tampa in 1^1 and opened a pet
cemetery. He began working in the
music business for a local promoter
who booked country artists. Parker
met a young Arnold at a tent show.
He soon began managing the artist in
what became his hands-on approach:
He moved in with Arnold and his
wife.

Parker opened an office in his
garage in Madison, Tenn., outside
Nashville, and established Arnold in
music and movies. Arnold fired Park-
er in 1953, and the two never discussed
the matter publicly. Parker opened
Jamboree Attractions and began book-
ing such acts as Minnie Pearl, Cowboy
Copas, and the Duke Of Paducah.

Snow was looking for a new agent in
1954 and met with Parker. Snow later
said he should have taken it as an
omen that Parker first demanded that
he always be addressed as “Colonel.”

At any rate. Snow hired him as
exclusive manager, and Parker soon
proposed that they form a 50/50 partr
nership, which became Hank Snow
Enterprises-Jamboree Attractions.
Snow toured with Bill Haley & His
Comets in 1955 and the association
seemed to be flourishing, although
Snow later said that he began private-
ly questioning the jumbled financial
statements he saw.

Later that year. Snow and Parker
heard of a young act that Nashville
manager Bob Neal was having success
with. They arranged to meet Presley
and were quite impressed with him.
Snow, who was an MC and headliner
on the Grand Ole Opry, introduced
Presley on the show. He was not well
received by the country audience, but
Snow and Parker were pleased and
put him on tour with Snow. Parker
pressed Snow to persuade Presley to
sign with Snow-Jamboree.

Snow, who recorded for RCA, con-
vinced the label’s A&R chief, Steve
Sholes, that Presley could be signed
away from Sun Records and that he
was worth it.

What happened next has been told
in different versions, but this much is
certain: On Aug. 15, 1955, a contract
was signed between Bob Neal and
Elvis Presley on one side and “Col.

(Contimied on page 68)

Randy California, Spirit’s
Guitarist, Presumed Dead

BY CHRIS MORRIS

LOS ANGELES — Friends and col-
leagues consider Randy California one
of the most formidable guitarists of his
musical generation — a generation that
included Jimi Hendrix, with whom Cal-
ifornia shared a band in 1966.

“He knocked Hendrix out,” says Bob
Irwin, who produced reissues of the
first four albums by California’s band.
Spirit, on Sony Legacy in 1996, to
which California contributed new liner
notes. “Everybody lifted from [Randy].
The guy was a monster. He never
stopped plajing ... He was one of the
most knowledgeable musicians I ever
worked wth and had a total perspec-
tive on his work and Spirit’s work.”

“He was always a musician’s musi-
cian," says Andrew Robbie, a music
journalist who worked with Spirit as an
adviser in recent years. “His peers
thought he was great. In music, you
don’t get any better.”

California, 45, was missing and pre-
sumed dead following a swimming
accident in Molokai, Hawaii, Jan. 2.
*1116 musician had saved his 12-year-old
son Quinn from an undertow, but was
himself overcome by the powerful cur-
rent. Authorities called off a search on
Jan. 3 due to bad weather.

A Los Angeles native, California ^^ras
bom Randolph Wolfe. He was exposed
to music as a teen by his uncle Ed
Pearl, who operated legendary L.A.
venue the Ash Grove. The fortunate
young guitarist had the opportunity to
jam with such visiting artists as Mance
Lipscomb, Brownie McGhee, Sleepy
John Estes, and Lightnin’ Hopkins.

Among the regulars at the Ash Grove
was the local group the Rising Sons,
which included Ry Cooder, T^j Mahal,
and jazz drummer Ed Cassidy; the
group disbanded in 1965, Cassidy mar-
ried California’s mother, and California
and his stepfather formed the first
incarnation of Spirit, a group called the
Red Roosters, with vocalist Jay Fergu-
son and bassist/vocalist Mark Andes.

In 1966, California’s family moved to
New York; in a fateful encounter at
Mann 3 ^s Guitar Shop, the 15-year-old
guitarist met Jimi Hendrix. California
joined Hendrix’s band, Jimmy James
& the Blue Flames, which played reg-
ularly at the Cafe Wha? in Greenwich
Village. After three months of gigs
there, Hendrix’s new manager, Chas
Chandler, convinced the guitarist to
move to England; Hendrix asked Cal-

ifornia to join him, but his parents for-
bade the move.

Returning to LA in 1967, California
and Cassidy joined Ferguson, Andes,
and keyboardist John Locke in a new
band, &^t called Spirits Rebellious and
soon known as Spirit

Signed to Lou Adler’s Ode Records,
the group released a much-praised
1968 debut that fused rock, pop, and
jazz influences seamlessly. The band’s
sophomore album,
“The Family That
Plays Together,”
sported an exuber-
ant single, “I (Jot A
Line On You,”
which rose to No.
25 on the Hot 100

JIHHHi Singles chart in

CAUFORNiA 1969 and pushed
the album to No. 22,
the band’s biggest success.

Critics generally view the 1970 Epic
album “Twelve Dreams Of Dr. Sar-
donicus” as Spirit’s artistic apex. Pro-
duced by the late David Briggs, the
record was an ambitious concept album
that featured such fine California-
authored songs as “Nature’s Way” and
“Nothin’ To Hide.”

Spirit’s original lineup fractured in
1971; California worked with art rock-
er Peter Hammill in England and went
on to record a highly psychedelic solo
album, “Kaptain Kopter And The
Twirlybirds,” for Epic in 1973.

In 1975, California and Cassidy
reformed Spirit as a power trio, and the
group experienced one last burst of
major-label glory with the two-LP
Mercury set “Spirit Of ’76,” which fea-
tured some of California’s most extrav-
agant playing.

Though the 70s incarnation of Spir-
it ended with California saying bitter-
ly that he would never play with Cas-
sidy again, the pair regrouped in the
’80s and led several Spirit lineups into
the ’90s.

The band issued several albums on
independent labels, and California and
Cassidy basically directed their own
careers. “They did everything, from
booking the tours to calling the hotels,”
says Robbie.

A new Spirit album, “California
Blues,” on which the guitarist returned
to his blues roots, was recently
released on the band’s own label,
W.E.R.C. Crew Inc.

California is survived by his son and
his mother, Bernice.

RESTLESS GETS NEW OWNER, NEW DISTRIBUTOR

(Continued from page 3)

where we were needed the most BMG
is very hungry, very focused, loves the
material, and had a game plan ... I
think we can be as meaningful to BMG
as we were and are to Time Warner
with movies.”

On the heels of the deal, Restless has
plans to expand. It has put its Holly-
wood office space up for sale and
intends to move to Burbank, Calif.,
near Regency’s office.

In addition, the label, which cur-
rently has a staff of 15, plans to hire
four regional promotion people and add
to the staff “as our success merits,”
Regis says.

Regis notes that selling Restless was
necessary for the label to grow and
compete.

“In this day and age, it’s tough to
compete when you don’t have the
resources,” Regis adds. “This way we
can hold on to our bands and invest in
promotion.”

Other acts on the Restless roster
include the Radar Bros., Chopper One,
Suncatcher, Jack Logan, and ^e Gold-
en Palominos.

Regis, who will continue to serve as
co-president/CEO, will also become
involved in soundtracks and is working
on the soundtrack to “Goodbye,

Lover,” which stars Patricia Arquette,
Dermot Mulroney, Mary-Louise Park-
er, Ellen DeGeneres, and Don Johnson.

On the international front. Restless
continues to utilize independent distri-
bution, but Hein is in discussions with
BMG in Europe.

Meanwhile, Milchan seems clearly
focused on making Restless a force to
reckon with in the U.S.

“Our commitment to Restless
Records is a real serious one,” Milchan
adds. “It is a real commitment to the
record business. I know everybody is
bleeding in the business right now, but
maybe that’s the best time to come in.”

BILLBOARD

FEBRUARY 1.1997

CopyrightetJ mal^'r

The ent i re :

Sir George Entertainment Family

Congratul ates

on their Grammy Award Nomination
Best Tropical Latin Performance

“Dark Latin Groove”

Produced and arranged by Sergio George

for Sir George Entertai'Qment , Inc

Copydghted malerH

’I

■F

BILLBOARD’S HEATSEEKERS

The Heatseekers chart lists the best-selling titles by new and developing artists, defined as those who have never appeared in the
top 1 00 of The Billboard 200 chart. When an album reaches this level, the album and the artist's subsequent albums are immedi-

ately ineligible to appear on the Heatseekers chart. All albums are available on cassette and CO.
available. (3 lUbums with the greatest sales gains. C 1997 Billboarct/BPI Communications.

Asterisk indicates vinyl LP is

FOUNTAINS OF WAYNE SCRATCHIE/TAG 92725VAG (7.98/11.98)

FOUNTAINS OF WAYNE

C27)

MATCHBOX 20 LAVA 92721/AG (7.98/11.98) YOURSELF OR SOMEONE LIKE YOU

PAULA COLE IMAGO 46424/WARN£R BROS. (10.98/15.981

THIS FIRE

CLEOUS ”T." JUDD razor & tie 2825 (10.98/16.9B>

1 STOLED THIS RECORD

CM)

SWEETBACK epic 67492 (10.98 EQ/16.98)

SWEETBACK

ERIC BENET Warner Bros. 46270(io.9M5.98)

TRUE TO MYSELF

C32)

—

THE PRODGIY MUTE 9003«L (10.98/15.98) MUSIC FOR THE JILTED GENERATION

DONELL JONES LAFACE 26025VARISTA (10.98/15.98)

MY HEART

THE SUICIDE MACHINES HOLLYWOOD 162048 (6.98/12.98) DESTRUCTION BY DEFINITION

CM)

JACI VELASQUEZ WORD 67823/EPIC (10.98 EW15.98)

HEAVENLY PLACE

CM)

SQUIRREL NUT ZIPPERS mammoth 0137* (10.98/14.98)

HOT

BARENAKED LADIES REPRISE 46393/WARNER BROS. (10.98/16.98)

ROCK SPECTACLE

KEIKO MATSUI COUNTDOWN 17750/ULG (10.98/15.98)

DREAM WALK

KEB’ MO’ OKEH 67316/EPIC (10.98 E(V16.98)

JUST LIKE YOU

EELS DREAMWORKS SOOOl/GEFFEN (10.98/16.98)

BEAUTIFUL FREAK

C4D

SUSAN ASHTON SPARROW 51458 (9.98/15.98)

A DISTANT CAa

(S)

—

ANOINTED WORD 67804/EPIC 00.98 ECV15.98)

UNDER THE INFLUENCE

AVALON SPARROW 51485 (10.98/15.98)

AVALON

SHAKIRA SONY 81795 (7.98 ECY12.98)

PIES DESCALZOS

DEFTONES maverick 46054AVARNER BROS. (7.98/11.98)

ADRENALINE

CORROSION OF CONFORMITY COLUMBIA 67583* (10.98 ECV15.981 WISE6LOOD

C2)

CRYSTAL LEWIS myrrh 5036/WORD (10.98/15.98)

BEAUTY FOR ASHES

PEDRO FERNANDEZ POLYGRAM latino 534120 (9.98/16.98)

OESEOS Y DEURIOS

DJ KOOL CUVAMERICAN 4310SAVARNER BROS. (10.98/15.98)

(LET ME CLEAR MY THROAT)

RICOCHET COLUMBIA 67223 (10.98 EQ/1S.98)

RICOCHET

THIS

WEEK

LAST

WEEK

WKS.ON

CHART

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND RACK SoundScan^^
SALES REPORTS COLLECTED. COMPILED. AND PROVIDED BY ■ ■ ■ 1 1||

ARTIST FEBRUARY 1.1997

LABEL & NUMBER/DISTRIBUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSEn&CO)

★ ★ ★ No. 1 ★ ★ ★

BILL WHELAN CELTIC HEARTBEAT 82816/AQ (1 1.98/17.98)

RIVERDANCE

NO MERCY ARISTA 18941 (10.98/15.98)

NO MERCY

MERRIL BAINBRIDGE UNIVERSAL 53019(10.98/15.98)

THE GARDEN

TRACE ADKINS CAPITOL NASMVILLE 37222 (10.98/15.98)

DREAMIN’ OUT LOUD

(3ARY ALLAN OECCA l 14B2/MCA (10.98/15.98)

USED HEART FOR SALE

PEGGY SCOTT-ADAMS miss butch 4003rt^AROI gras nO.98/16.98

HELP YOURSELF

LOCAL H ISLAND 524202 (8.98/14.981

AS GOOD AS DEAD

702 BIV 10 530738*/M0T0WN 18.98/16.98)

NO DOUBT

REPUBLICA DECONSTRUCTION 66899/RCA (9.98^3.98)

REPUBLICA

CM)

TRICKY ISLAND 524302 (10.98/16.98)

PRE-MILLENNIUM TENSION

DUNCAN SHEIK ATLANTIC 82879/AG(10.98/15.96)

DUNCAN SHEIK

FUN LOVIN' CRIMINALS EMI 35703 (7.98/1 1.98)

COME FIND YOURSELF

PAUL BRANDT REPRISE 46180/WARNER BROS. (10.98/16.96)

CALM BEFORE THE STORM

ENRIQUE IGLESIASA FONOVISA0506(10.9a'13.9S)

ENRIQUE IGLESIAS

KULA SHAKER COLUMBIA 67822 110.98 ECVI6.9S>

ANN NESBY perspective 549022/A&M (10.98/14.98)

I’M HERE FOR YOU

AMANDA MARSHALL EPIC 67562 (7.98 EQ/i 1.98)

AMANDA MARSHALL

KENNY CHESNEY BNA 66908/RCA (10.98/15.98)

ME AND YOU

ALFONZO HUNTER DEF squad 52827/EMI (10.98/16.98)

BUCKA DA BERRY

ASHLEY MACISAAC A&M 540522 (8.98/10.98)

HI HOW ARE YOU TODAY?

BR5-49 ARISTA 18618 00.98/15.98)

BR5-49

AKINYELE 200 31 142WOLCANO (6.98/9.98)

PUT IT IN YOUR MOUTH (EP)

THE CHEMICAL BROTHERS astralwERKS 61S7*;CAPRiCORN (10.98/14.98) EXIT PLANET DUST

DAVID KERSH CURB 77848 00.98/15.98)

GOODNIGHT SWEETHEART

CM)

SOUL COUGHING slash 4617S*/WARNER BROS. 00.98/15.98}

IRRESISTIBLE BLISS

F> CZ> F>l_JI_y^r$*LJF^r$ISI l\l s.

BILLBOARD'S WEEKLY OOVERAOE OF HOT PROSPEOTS FOR THE HEATSEEKERS OHART ♦ BY DOUG REECE

If IT AINT BROKE: Warn-
er Nashville comedian Bill
Engvall not only shares
record labels and managers
with Jeff Foxworthy; he also
plays his brother on “The Jeff
Fox worthy Show.”

Now the label is hoping
Engvall can duplicate Fox-

Taking Shape. “Shapes,”
the American debut by
Sweden’s Josefin Nilsson,
features production and
writing by Abba members
Benny Andersson and
Bjorn Uivaeus. Tristar Music
released the album Jan. 15
and will begin servicing
radio promotional tracks in
February. Nilsson, who is
also an actress and mem-
ber of Swedish cabaret act
Ainbusk Singers, is gaining
notoriety in Sweden, Hol-
land, and Norway.

worthy’s sales success with a
similar marketing and pro-
motions approach.

Engvall’s album “Here’s
Your Sign” — titled in refer-
ence to a bit in which Engvall

advocates giving ignorant
people a sign — was released
on May 28, 1996, but is just
beginning to hit its stride.

Similar to clips that paired
Foxworthy with country star
Alan Jackson, an Engvall
video featuring Travis Tritt
was serviced to Country
Music Television Dec. 26.

Radio, which received the
single simultaneously, has
responded well. “Here’s Your
Sign (Get The Picture)”
moves up from No. 62 to No.
44 on the Hot Coun-
try Singles &

Tracks chart.

Warner Nashville
executive VP/GM
Eddie Reeves says
that Warner will
keep close tabs on
breakout markets,
taking steps to pro-
mote product in
those areas while
maintaining a light-
hearted approach in
keeping with the
album’s hilarious
tone.

For instance,

Warner is planning
on throwing a “gold
record” party in Little Rock,
Ark., where the album is
gaining a foothold.

According to Reeves, the
album has gone “gold” in the
city based on calculations that
consider sales in the area as
representative of Vio of 1% of
the total U.S. marketplace.

Those questioning why
Warner would place so much

Built In. The Warner Bros,
debut from Boise. Idaho-based
Built To Spill comes to the mar-
ket with a dedicated regional
following. “Perfect From Now
On," which bows Tuesday (28),
follows the act's 1994 Up!
release, "There’s Nothing
Wrong With Love," which
peaked at No. 3 on the Moun-
tain Regional Roundup.

REGIONAL HEATSEEKERS NO. Is

THE REGIONAL ROUNDUP

Rotating top 10 lists of best-selling titles by new and developing artists.

EAST NORTH CENTRAL

SOUTH ATLANTIC

1. No Morey No Mercy

1. Peggy ScoR-Adams Help Yoursed

2. Local H As Good As Dead

2. Ann Nesby I'm Here For You

3. Bill Whelan Riverdance

3. Akinyeit H in Your Mouth (EP)

4. 702 No Doubt

4. Gary Allan Used Heart For Sale

S. Mofhl BMnbcMgo The Garden

S. Trace Adkirts Dreamin' Out Loud

6. Cary AHan Used Heart For Sale

6. 702 No Doubt

7. Trace Adkins Oreamin' Out Loud

7. No Mercy No Mercy

8. Ovnean Sheik Duncan Sheik

8. MerrII Bainbridge The Garden

9. Republica RepuNica

9. Alfonso Hunter 8 IkKs Da Berry

10. Peggy Scott.Adaim Help Yourselt

10. fiW Whelan Rrrerdance

faith in duplicating its efforts
have received a patent answer
from Reeves. “If you’re ask-
ing why (the marketing plan]
is so similar to Jeff Foxwor-
thy,” he quips, “here’s your
sign.”

Road scholar: Tone-

Cool Records blues guitarist
Monster Mike Welch, 17, is
graduating early so that he
can begin touring full time in
support of his album “Axe To
Grind,” due in stores Feb. 11.
Welch, who is booked
by Charlotte, N.C.-
based Piedmont T^-
ent, will begin a
Northeast and
Southern region
tour this month, fol-
lowed by a May gig
at his high school in
Lexington, Mass.,
before he heads to
Europe. The artist
was featured on
Lifetime TV Jan. 22
and will perform in
February on CNN
and the syndicated
“House Of Blues
Radio Hour.”

Roadwork:

Cleopatra recording act the
Electric Hellflre Club opens
for Danzig through March.
Its album “Calling Dr. Luv”
was released in October.

See you ONLINE: I’m
happy to announce that I will
be acting as February’s guest
editor in the Ask Billboard

section of Billboard Online.
E-mail questions regarding
new artists can be addressed
to d.reece(®billboard.cora.
Answers to selected ques-
tions will be posted on Bill-
board’s World Wide Web site
at www.billboard.com.

Vid Hit The “Color Pur-
ple"-inspired dip for Erykah
Badu's first single. “On &
On," is receiving multifor-
mat radio play and has
been welcomed by BET,
MTV, and the Box, where it
has been one of the the top
10 most-requested clips for
the last three weeks. Kedar
Entertainment/Universal
Records will release the
hip-hop artist’s debut
album. “Baduizm," Feb. 11.
Badu began a promo tour
in Los /Vigeles last week.

CORRECTION: Ben

Vaughn’s album “Rambler
’66” will be released Feb. 18.

BILLBOARD FEBRUARY 1, 1997

R&B

ARTISTS & MUSIC

Executives Who Paved The Way

Remembering Pioneering Label Staffers

star Time. Scotti Bros, recording artist James Brown, center, stands with radio
personality Casey Kasem, left, at Billboard Live, as the club’s president. Keith
Pressman, presents the soul music legend with a plaque commemorating Brown's
career achievements. Brown, who earlier that day received a much-deserved star
on the Hollywood Walk of Fame, also delivered an impressive showcase perfor-
mance at the Los Angeles-based venue. (Photo by LeRoy Hamilton)

This aHicle is the first of aim-part
series byJ.R. Reynolds that celebrates
the pioneer's ivho forged the fast black
mmic depart.meids at major labels in
the early 1970s.

The names of today’s black senior
executives ring like a who’s who of the
music industry. The exploits of Sylvia
Rhone, Russell Simmons, L.A. Reid,
and Suge Knight are well known. But
what about those executives whose
early efforts paved the way for today’s
black music business?

To commemorate Black History

Winans Deserve Black Music Family
Crown; Mainstream R&B Has The Blues

Rhythm

and the

EIRS APPARENT? The British have the royal family,
Americans have the Kennedys, and black music has . . .
the Winans?

The Winans’ name has been a fixture in the gospel realm
for years. However, with the growing appreciation of inspi-
rational music among the more seculai' set, the family name
is becoming increasingly familiar among mainstream con-
sumers.

Among the family’s recording incarnations are male
sibling quartet the Winans, brother/sister duo BcBe &
CeCe, and soloists CeCe Winans and Vicki Winans.

Now many are probably asking, what about the Jack-
sons? Well in recent years, the Jackson recording legacy
has dwindled to the one-two
punch of Michael and sister
Janet. They are a formidable
show’ business pair to be sure,
but for various reasons, the
family element has dimin-
ished in the eyes of many. The
Winans, on the other hand,
are making legitimate head-
way toward the royal throne,
through a less controversial
reputation, solid track record,
and musical abilities.

Mario Winans, son of

Vicki and the Winans’ Manin Winans, is completing the
recording of his owm solo debut for Motowm.

BeBe Winans, w'ho recently signed a solo deal wdth
Atlantic, is recording an R&B set that’s slated for release
in late summer or early fall. I’ve yet to hear anything on
BeBe’s project, but the artist’s vocal reputation is solid,
and if the album’s songs are there and the label’s market-
ing machine comes correct, the Winans will ha\Tj to sew
another feather on the family cap.

However, based on w'hat I’ve heard of it thus far,
Mario’s set has great potential for bulking up Motowm’s
anemic A&R reputation. Written and produced by the
20-something artist, the album is an assortment of slow
and mid-tempo R&B tracks that is set to drop in June.
“Don’t Know;” the first single, due in the spring, features
a love-quaking romance remix that includes the slurpy
rapping talents of Bad Boy’s Notorious B.I.G., and the
rumbling bass chops of A&M maestro Barry White.

Mind you, the vocals for the remix had yet to be laid
dowm when I heard the tracks in the studio, but the mix's
arrangement was signature White and the track’s
rhythm w’as natural for Biggy’s raps.

With the Winans’ reputation for being solid musical
performers in the gospel realm, veteran artist BeBe’s
foray into the R&B world as a soloist, and what’s shaping
up to be a promising debut for Mario, the family seems
destined to become the next first family of music.

by J R. Reynolds

HAT’S GOING ON? Something remarkable is hap-

pening in R&B; several \'eteran blues-oriented soul artists
are making significant noise at the mainsti’eam R&B level.
Among them is Johnny Taylor’s Malaco set “Good Love!,”
which is holding fast on the Top R&B Albums chart, climb-
ing back to No. 52.

“Good Love!” peaked at No. 15 and has been on the
chart for 32 wrecks. Impressive, especially since the artist
doesn’t have much name recognition among young con-
sumers. Malaco marketing exec Greg Preston says the
set is moving well in the South (no real surprise there),
but has gained radio friends elsewhere. “A^en we re-
leased the CD-5 of the first single “Good Love,” that’s
when it took off for us at urban radio,” he says. “We went
after retail and it paid ofT.”

In addition to Taylor’s set,
Peggy Scott-Adams continues
to amaze with her Miss Butch/
Mardi Gras album “Help Your-
self.” The set is being driven
by generous airplay of the ear-
popping track “Bill,” and is up
to No. 17 on the Hot R&B Sin-
gles chart. And it hasn’t even
been released as a single.

Scott-Adams w'as a late-’60s
favorite when she paired with
Jo Jo Benson to hit with
“Lover’s Holiday" and “Pickin’ Wild Mountain Benies.”
Both were top 10 R&B hits in 1968.

It will be interesting to see just how far this record
will go. Because of the lyrical novelty of “Bill,” the set
has become somewhat of a phenomenon. But will con-
sumers dig deeper into the album’s inventory?

Meanwhile, a common thread linking the 'Taylor and
Scott-Adams sets is the producing talents of veteran
Rich Cason, who worked on both projects.

While we’re on the subject of heritage artists, on Jan.
21, Ichiban released “The Sequel: It Ain’t Over,” by Mil-
lie Jackson. 'The 13-track set comes hot on the heels of
her thespian perfoimance in the off-Broadway musical,
similarly titled “The Sequel: It Ain’t CK'er,” w'hich runs
thi'ough Feb. 16 at New^ York’s Beacon Theatre.

In HONOR OF BLACK History Month, the History Chan-
nel (which bowed in January ’96) is airing a series of
African-American-related features, including the 12-hour
mini-series “Roots.” The 1977 saga, which recounts the
family legacy of late author Alex Haley, airs Feb. 23-28.
The nine-Emmy-winning telecast featured an impressive
soundtrack that wa.s- originally released by A&M. Piggy-
backing off the rebroadcast, A&M is reissuing the 1977 set
on CD Feb. 4. “Roots,” certified gold in ’77, peaked at No.
21 on The Billboard 200. Produced by Quincy Jones, the
28-minute set contains musical elements from the show’s
score and tracks inspired by the TV epic. The set’s 18
tracks are a blend of African and African-American styles.

Month, Billboard asked several indus-
try executives to discuss the lasting
influence that the heads of the early
black music departments have had on
the music business.

According to Atlanta entertainment
attorney Vernon Slaughter, prior to the
formation of R&B music departments,
black music was designated with the
nebulous term “special markets.”

“Initially, Logan Westbrook came in
as director of special markets at CBS
Records, w’hich later became Sony,” says
Slaughter, who also worked at the label.
“Then in 1974, LeBaron Taylor came in
as sj)ecial markets VP and renamed it
the black music department”

Taylor is cun*ently senior VP of cor-
porate affairs at Sony. At press time he
was unavailable for comment.

Through Taylor’s leadership, CBS
became a breeding ground for young
black executives w'ho w'ould go on to
become icons of the R&B business.
Among them w'ere current Motown
chairman Clarence Avant, former
Motown CEO Jheryl Busby, and enter-
tainment attorney Larkin Arnold (w'ho
made a name for himself as a CBS
executive), as well as a black music

department head at Capitol. “But in
terms of the ‘modern’ era, LeBaron
put it all together,” says Slaughter. “He
helped create the corporate blueprint
for R&B departments.”

Sony senior VP/Epic black music
division executive VP Ron Sw'eeney
agrees that Taylor’s tenure as CBS’
black music head helped set the tone
for subsequent R&B departments. “He
was the firat guy who actually had con-
trol over budgets and had actual deci-
sion-making powers,” says Sw'eeney.

Harold Childs and Jim Tyrrell were
two other key figures in developing the
role of the black music executive in the
early 70s. Childs was promotion senior
VP at A&M, while Tyrrell worked as
marketing and sales VP at Epic Asso-
ciated Labels.

Says Correct Records GM Kevin
Harewood, “They were two black men
who had pivotal label positions that
w'ere not limited to just the black music
arena.”

Tyrrell says that today’s black exec-
utives have a tougher time than he did
when he held his senior music post at
Epic. Interestingly, the former label
(Continued on jxige 28)

Def Jam Shoots Straight For
Inf I Market For Warren G Set

■ BY SHAWNEE SMITH

NEW YORK — With the unanticipated
international success of Warren G’s
“What’s Love (3ot To Do ^Vith It” single
from the “Super Cop” soundtrack, G
Funk Music/Def Jam is flipping the
script for the artist’s sophomore set,
“Take A Look Over Your Shoulder
(Reality).”

Instead of the customai*y “domestic
first, international second” scenario,
the label is releasing the set interna-
tionally Feb. 17,
followed by a
domestic debut
March 11.

In addition to
the nontraditional
release schedule,
the disc is an*
enhanced CD.

“Warren has
terrific setup over-
seas,” says Def Jam West Coast mar-
keting VP David Belgrave. “His
‘What’s Love Got To Do With It’ single
only did about 250,000 in the U.S., but
it was No. 1 in Germany, and it reached
the top five in France and the U.K.”

In response to significant interna-
tional consumer interest, the label sent
the rapper on a 12-day European pro-
motional tour in December, ^cause of
his appeal, Warren G wound up on fel-
low Long Beach, Calif., rhyming part-
ner Snoop Doggy Doga’s concert tour.
During hLs European stay, he also per-
formed dates with Hootie & the Blow-
fish, ripping and playing drums.

Says Belgrave, “Breaking [the
album] internationally is the best thing
for bo^ markets because it gires Mer-

„Q

WARREN G

cury International a big splash before
anything happens in the U.S., and
there’s virtually no chance of a leak
back to the States.”

“Take A Look Over Your Shoulder
(Reality)" has “more bounce” than his
debut set, “Regulate,” according to the
artist, and is the firat project on his
Mercury-distributed G Funk Music.

Warren G says that the set is more
advanced, creatively. “Instead of using
samples, I just played ever>dhing live,”
he says. “I got a guitar player, a bass
player, and a keyboard player, and I
directed and produced everything.”

The 15-track set includes rap covers
of Bob Marley’s “I Shot The Sheriff”
and the Isley Brothers’ “Coolin’ Me
Out,” W’hich is renamed “Smokin’ Me
Out” and features a chorus sung by
Ron Isley.

The international set also includes
the original and remixed versions of
“What’s Love Got To Do With It”

'The ECD features retrospective nar-
ration by Warren G, as he shows off his
home, works in the studio, visits a
record store, and tours his hometown
of Long Beach.

“Warren’s enhanced CD is better
than most because he w'as actively
involved in it,” says Belgrave. “He
recorded all the intros and responses,
so whoever uses the [ECD] is going to
feel like they are interacting directly
w’ith Warren.”

The first U.S. single, “What We Go
'Through,” features Malik from Illegal,
Badass from the LBC Crew, and new-
comer Perfect. It was serviced to D.J
pools on Monday (27).

“I Shot The Sheriff” is the first
(Cont inued on page 28)

BILLBOARD FEBRUARY 1 , 1 997

FEBRUARY 1, 1997 TOP R&B ALBUMS

THIS

WEEK

LAST

WEEK

2WKS

AGO

WKS. ON
CHART

ARTIST TITLE

LABEL & NUMKR/DISTRIBLITING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTE.COI

PEAK

POSITION

NEW^

*** No. 1/Hot Shot Debut* * *

SOUNDTRACK BUZ2 TONE 50bSi*/PRl0RITY (10.96^16.981 l««V3tNo.l RHYME & REASON

™39.*T£«COPE .10 98-16 98: KILLUMINATI, THE 7 DAY THEORY

* * * Greatest Gainer * * *

AALIYAH • BLACKCROUND 92715/AG (10.98/16 98) ONE IN A MILLION

FOXY BROWN VIOLATOtVDEF JAM 533684'/M£RCURY (10.98 Ea'16.981 ILL NA NA

SOUNDTRACK ARISTA 18951 (10.98/16.981 THE PREACHER'S WIFE

TONI BRAXTON A* LAFACE 26020/ARISTA (10.98/16.98) SECRETS

REDMAN DCF JAM 533470’AfERCURY (10.96 Ea'16.98) MUDDY WATERS

BLACKSTREETA INTERSCOPE90071‘(10.98/16.98) ANOTHER LEVEL

LIU Kim • UNOEAS/eiG beat 92733VAG (10.98/16.98) HARD CORE

DRU HILL ISLAND 524306 (10.98/16.98) ES DRU HIU

SOUNDTRACK A' WARNER SUNSET/ATLANTIC 82961/AG (11.98/17.98) SPACE JAM

TONY TONI TONE • mercury 534250 (10.98 EQ^!6.98) HOUSE OF MUSIC

KEITH SWEAT A’ELEKTRA61707'/EEG(10.98/16.98) KEITH SWEAT

(M)

BABYFACEA EPIC 67293* (10.98 E(J/16.98) THE DAY

SNOOP DOGGY DOGG DEATH ROW 90038*/INTERSC0PE (10 98/16.98) THA DCX3GFATHER

NEW EDITION A MCA 11480* (10.98/16.98) HOME AGAIN

CS)

* * ★ Pacesetter * * *

PEGGY SCOTT-ADAMS MiSS SUTQl 4003iUAR0i GRAS (10.9&16.9d> CS HELP YOURSELF

WESTSIDE CONNECTION A LENCH mob 50583*/PRK>RITY (10.98'16.98) BOW (X)WN

niy

TELA SUAVE HOUSE 1553/TtELATIVITY (10.98/15.98) PIECE OF MIND

(20)

MAXWELL • COLUMBIA 66434 (10.96 EQ’16.98) B5 MAXWELL'S URBAN HANG SUITE

VARIOUS ARTISTS DEATH fiOW,1HTERS(»P£ 50677/(»RI0fl1TYU9.9e23.98) DEATH ROW GREATEST HITS

QINUWINE • 550 MUSIC 6768&EPIC (10.96 EQ'16.98) US GINUWINE... THE BACHELOR

LUTHER VANDROSS A LV 67553*/EPIC (10.98 £(>16.98) YOUR SECRET LOVE

MOBB DEEP LOUD 66992*/RCAU0.98'16.98) HELL ON EARTH

SOUNDTRACK A EASTWEST 61951*/EEG (n.9a'17.98) SET IT OFF

JOHNNY GILL • MOTOWN 530646 (10 98/16.98) LETS GET THE MOOD RIGHT

TTf)

THE ISLEY BROTHERSA T-NECK 524214/1SLAND (10.98/16.98) MISSION TO PLEASE

(2D

KIRK FRANKLIN AND THE FAMILY • wwaTrwa t noKiw a

GOSPOCtNTRlC 72127 (9 98/13.98) WHATCHA LOOKIN 4

KEITH MURRAY JIVE 41595* (10.98/16.98) ENIGMA

MO THUGS A M0THU6S1561*/RELATIVITYU0.9M 6 98) FAMILY SCRIPTURES

2PAC A' DEATH ROWANTERSCOPE 524204*;ISLANO (19.98/24.98) ALL EYEZ ON ME

E-40 • SICK WID' IT 41591/JIVE (11.98/16.98) THA HALL OF GAME

112 • BAD BOY 73009/ARtSTA (10.98/15.98) 112

GHOSTFACE KILLAH • RAZOR SHARP/EPIC STREET 67729*/EPIC (10.98 EO/16.96) IRONMAN

DO OR DIE • RAP-A-LOT/NOO TRVOC 420SaVlRGIN (10.9^15.98) PICTURE THIS

,10 96-16.98, '’RESENTS... THE AFTERMATH

•¥* NPG 54982/EMI (22.9^34.98) EMANCIPATION

KENNY G A^ ARISTA 18935 (10.98/16.98) THE MOMENT

?39)

702 BIV 10 530738*/M0T0WN (8.98/16.98) S NO DOUBT

B-LEGIT SICK WID' IT 41593i'JIVE (10-98/15.98) THE HEMP MUSEUM

THE ROOTS OGC 24972*X1EFFEN (10.98/16.98) ILIADELPH HALFLIFE

DA BRAT • SO SO DEF 67813*/COLUMB(A (10.98 EQ/16.98) ANUTHATANTRUM

AZ YET LAFACE 26034/ARiSTA (10.98/1 5.98) AZ YET

CURTIS MAYFIELD WARNER BROS. 46348 (10.98/16.98) NEW WORLD ORDER

26-

FLESH-N-BONE T.H.U.G.S. TRUES HUMBLY UNITED GATHERIN' SOULS

MO THUGSA>£F JAM 533539*/MERCURY (10.98 £0/16.98)

(46^

RICHIE RICH OAKLAND NIUS 41SlQ0ef JAM S33471*,KERC(JRY (10.98 £016 98) SEASONED VETERAN

ANN NESBY PERSPECTIVE 549022/A&M (10.98/14.98) (S I’M HERE FOR YOU

■ COMPILED FROM A NATIONAL SAMPLE OF RETAIL

II STORE SALES REPORTS COLLECTED. COMPILED.

AND PROVIDEO BY

MINT CONDITION PERSPECTIVE &49028/A&M ao.9a/14.98) DEFINITION OF A BAND

LL COOL J • DEF JAM 534I25*/MERCURY (1 1.96 E017.98) ALL WORLD

ALFONZO HUNTER DEF SQUAD 52627/EMI (10.98/15.98) BB BLACKA DA BERRY

AKINYELE 200 31 142*/VOLCANO (6.9a’9.98) SB PUT IT IN YOUR MOUTH (EP)

C52J

JOHNNIE TAYLOR MALACO 7480 (9.98/2 5.98) GOOD LOVE'

OUTKAST A LAFACE 26029*/ARISTA (10.98/16.98) ATHENS

«i»„c EPIPHANY: THE BEST OF CHAKA KHAN VOLUME ONE
REPRISE 4S86SAVARNER 8ROS. (10.98/16 961

LOST BOYZ • UNIVERSAL 53010* (10.98/15 96) LEGAL DRUG MONEY

2PACA 1NTERSCOPE50609*/PRiORm'(10.9a/16.98) ME AGAINST THE WORLD

(,51)

SWEETBACK EPIC 67492 (10.96 £016.98) BB SWEETBACK

NASA' COLUMBIA 67015* (10.98 E016.98) (T WAS WRIHEN

THE DAYTON FAMILY rclativity 1544 ao.90i5.98) F.B.l.

SHAQUILLE O'NEAL T.tV.GM,TRiUJMA 90087MNTERSCC»'E (10.98/16.98) YOU CANT STOP THE REIGN

R. KELLY A^ JIVE 41579* (10.98/16.98) R. KELLY

FUGEES RUFFHOUSE 67904*/COLUM8IA (7.98 £01 1 .98) BOOTLEG VERSIONS

DONELL JONES LAFACE 26025*/ARISTA n0.98/)5.98) S MY HEART

ERIC BENET WARNER BROS. 46270 (10.98/15.98) BB TRUE TO MYSELF

BONE THUGS-N-HARMONY A* RUTHLESS 5539*/RELATIV1TY (10.98/15.981 E. 1999 ETERNAL

ORIGIN(X) GUNN CLAPPAZ DUCK DOWN 50577*/PRK)RlTY (10.98/16.98) DA STORM

BIG NOYD T(X4MY BOY 1156* (8.98/11.98) EPISODES Of A HUSTLA

KENNY LATTIMORE COLUMBIA 67125 (10.98 EQ/26.98) BB KENNY LAHiMORE

UGK JfVE 41586 (10.98/15.98) RIOIN' DIRTY

XZIBIT LOUD 66816*/RCA (10.9815,98) AT THE SPEED OF LIFE

FUGEES A* RUFFHOUSE 67147«XXX.UMBIA (10.98 E016.98) THE SCORE

VARIOUS ARTISTS • SOSO C€F £7532’/COLUU6tA 110.98 EQ/16.98) SO SO DEF BASS ALL-STARS

MARIAH CAREY A*COLUMBIA6670OU0.98EO'l6i98) DAYDREAM

(74)

QUAD CITY DJ'S • QUAORASOUNtVBtG BEAT B29P5VAG (1098/16.98) GET ON UP AND DANCE

MONIFAH UPTOWN 53004*/UNtV£RSAU10.98/15.98) MOODS.. .MOMENTS

MC LYTE EASTWEST 6178l*/EEG (10.98/16.98) BAD AS 1 WANNA 6

VARIOUS ARTISTS A tommy BOY 1137 (10.9815.98) JOCK JAMS VOL. 1

JAY'Z • FREEZE/ROC-A-FELLA 50592*/PRl0RITY (10.98/15.98) REASONABLE DOUBT

lOTH anniversary -RAP.A.LOT records

SWV A RCA 66487«a0 98/16.981 NEW BEGINNING

CRUCIAL CONFLICT • />ALLAS 53006'AJNIVERSAL 00.9815.98) THE FINAL TIC

(82)

—

MAC DRE ROMP 1049 (9.9814.98) MAC ORE PRESENTS THE ROMPALATION

NEW^

FREAK NASTY CONTROVERSEE... THATS LIFE... AND THATS THE WAY IT IS

HARO HOOD/POWER 21H/TRIA0 (10.9815.98)

KANE & ABEL NO LIMIT 50634*/PRI0RnY (6.989.96) B THE 7 SINS

—

AL GREEN THE RIGHT STUFF 30B0(VCAPlT0L (10.9816.98) GREATEST HITS

(86)

MASTER P • NO LIMIT 53978*/PRI0RITY (10.9816.98) ICE CREAM MAN

JERU THE DAMAJA PAYOAY/LONOON 124119*/1SIANO(10.9817.98) WRATH OF THE MATH

RE-ENTRY

GROVER WASHINGTON, JR. Columbia 57505 (10.98 E816.98) SOULFUL STRUT

DJ KOOL CUVAMERICAN 43108/WARNER BROS. (10.9815.98) ffi (LET ME CLEAR MY THROAT)

NATALIE COLE • ELEKTRA 61948EEG (10.9816.98) STARDUST

d!)

RE-ENTRY

MONTELL JORDAN DEF JAAI 533191 ’/MERCURY (10.98 £816.98) ’ MORE...

BOUNTY KILLER BLUNT/VP 146I*/TVT ao.9816.98) BB MY XPERIENCE

PATTI LABELLE MCA 11567 (10.9816.98) GREATEST HITS

RE-ENTRY

TINA TURNER virgin 41920 (10.9816.98) WILDEST DREAMS ■

SILKK NO UMfT 50591 ‘/PRIORirY (10.9816.98) THE SHOCKER

A TRIBE CALLED QUEST # rfata rhymfa and iiff

JIVE 41587* (11,9816.98)

RE-ENTRY

EIGHT6ALL & MJG • suave house 152l*«lATlVfTYao.98l6.98) ON TOP OF THE WORLD

(M)

RE-ENTRY

VARIOUS ARTISTS loud 674Z3.'RCA (10.9816.98) ALL THAT: THE ALBUM

RE-ENTRY

MONICA ▲ ROWDY 37006*/ARISTA (10.9815.98) MISS THANG

100

90 1 96

SOUNDTRACK A' ARtSTA 18796 (10.9816.98) WAITING TO EXHALE

Albums with the greatest sales gams this week. •Recording Irxtuslry Assn. Of America (RIAA) certification for shipment of 500,000 album units (250,000 for EPs). A RIAA certification for shipment of 1 million units (500, (XX) for EPs), with multiplatinum titles indicated by a numeral fol-
lowing the symbol. *Asterisk ir>dic3tes LP is available. Most tape prices, and CD prices for WEA and BMG labels, are suggested lists. Tape prices marked EQ. and all other CO prices, are equivalent prices, which are projected from wholesale prices. Greatest Gainer shows charfs largest unit
increase. Pacesetter indicates biggest percentage growth. Heatseeker Impact shows albums removed from Heatseekers this week. S indicates past or present Heatseeker title. 91997. Biilboard/BPi Communications, and SoundScan, inc.

OVER 100,000 SOLO!

AVAILABLE FROM:

■ INDI

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■ M.5.

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From tlie Hit Album: "Help youfself"
fisSH Seott-AiUim

m Miss Bstek Recsrds / lisirMiS ly. Mardi Eras

1 - 800 - 895-0441

BILLBOARD FEBRUARY 1. 1997

SPECIAL HOHORS TO ICONS OF TWO GENERATIONS

To ORDER PREFERRED SEATING/aFTER PARTY

Los Angeles Shrine Auditorium,
Friday, March 7 at 4:30pm PST

Babiifoce

The 1997 Sammy Davis Jr. Award
as"EmieriaineroftheYear"for

OUTSIANDING ACHIEVEMENTS
IN THE REU) OFEMIERTAINMEMT.

Curtis Naiifield

The 1997 Quincy Jones Award

FOR outstanding CAR® ACHIEVEM0HS
IN THE HElDOFEMIERIAINMed

Entertainment Company &
Don Cornelius Productions

K-tel 35TH
ANNIVERSARY

DON WAS - 20 YEARS
OF MAMttG RECORDS

HARM

ASIA PACIFIC I

Issue Date: March 15

Issue Date: March 8

Issue Date: March 1

Billboard’s March 8th Issue
celebrates the 35th anniver-
sary of K-tel. A pioneer in
marketing music, this
Minneapolis firm’s retail music
compilations have become
pop-cultural icons. Our com-
memorative issue features a
complete history of the com-
pany, an overview of its pre-
sent-day operations, and an
exclusive Q&A with president
David Weiner and founder
Philip Kives. We’ll also take a
look at those artists whose
careers have been given a
significant boost by aligning
themselves with the K-tel
organization.

Billboard’s March 15th ■ :
Issue features our annual ^
spotlight on the NARM
confab taking place in
Orlando, Florida on March
8-11. This special issue
provides readers with an
up-to-date, comprehensive
overview on the general
health of the retail market
(multimedia, video and
music products). In addi-
tion, coverage will preview
artists scheduled to per-
form, provide a complete
listing of events, and
explore the retail land-
scape of Orlando.

Billboard’s March 1st issue
celebrates Don Was’ 20
years of making records.
This talented musician/pro-
ducer, who has worked with
successful artists like
Bonnie Raitt, the Rolling
Stones and Bob Dylan, is
exclusively interviewed by
Billboard’s Chris Morris in
this spotlight issue. Other
features include a complete
overview of his award-win-
ning career, his recent suc-
cess in film scoring and an
extensive discography of
his work. Join Billboard in
honoring one of the music
industry’s finest.

Continuing its editorial
commitment to Asia Pacific’s
mega-market. Billboard’s
March 1st issue will contain
our first “magazine within a
magazine” on the region for
1997. Our Spotlight takes a
final look for 1996 at the
Asian Pacific market, with
coverage on the most recent
events, trends. Western acts
experiencing success and
Asia/pacific acts breaking in
both the homeland and
abroad. Don’t miss this
opportunity to align your
company with the market
that keeps growing and
growing!

Contact :

Clinch-Leece
Singapore;65-338-2774
Hong Kong: 852-2527-3525

Contact:

Robin Friedman
213-525-2302

Contact:

Ken Karp
212-536-5017

'ontact:

Pat Rod Jennings
212-536-5136

Copyrighted material

..CLiir

Place your ji
ad today! I

EAST/AUDVyEST

212-536-5004 - PH
212-536-5055 - FAX
KEN PIOTROWSKI
PAT ROD JENNINGS
DEBORAH ROBINSON
KEN KARP

rTALY

39+(0)362+54.44.24 - PH
39+(0)362+54.44.35 - FAX
LIDIA BONGUARDO

JAPAN

213-650-3171 - PH
213-650-3172 - FAX
AKI KANEKO

FLORIDA/LATIN AMERICA

305-441-7976 -PH

305-441-7689- FAX

ANGELA RODRIGUEZ

UK/EUROPE

44-171-323-6686- PH

44-171-323-2314 -FAX

CHRISTINE CHINEHI

CATHERINE FUNTOFF

ASIA PACmC

Singapore: 65-338-2774

Hong Kong: 852-2527-3525

CLINCH-LEECE

AUSTRALIA

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AMANDA GUEST

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LEZLE STEIN

ROBIN FRIEDMAN

SOUTHEAST

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615-321-4294 -PH
615-320-0454 - FAX
LEE ANN PHOTOGLO

KOCH INTERNATIONAL
10TH ANNIVERSARY

Issue Date: March 15

Ad Close: Feb. 18

As part of our annual
NARM issue, Billboaixl will
honor the 10th anniversary
of the independent distribu-
tion firm (and record com-
pany) Koch International.

Our celebratory coverage
will be anchored around the
company's history, while
providing insights on Koch’s
current projects and future
plans. Other features will
look at the labels under the
Koch umbrella, compile a
timeline of the company’s
strategic events, examine
its international force, and
include a one-on-one inter-
view with Michael Koch.

Contact :

Ken Piotrowski
212-536-5223

PRO TAPE/ITA

Issue Date: March 22
Ad Close: Feb. 25

Billboard s annual section
on Pro Tape finds its home
in our March 22 issue.
Coinciding with the ITA
convention (Tuscon, March
19-23), this spotlight
reviews the current state of
the market in light of
recent acquisitions.
Coverage will explore the
new opportunities for other
tape suppliers in the wake
of the market’s consolida-
tion, profile the KOHAP
Group, and discuss the
challenges facing pro-tape
suppliers in an exclusive
Q&A with ITA executive
director Charles Van Horn.

Contact

Western U.S./Canada:
213-525-2299
Eastern U.S.;
212-536-5225

Contact:

Ken Karp
212-536-5017

1997 Record
Retailins Directory

Publication Date:
March 22, 1997

Ad Ciose: Jan. 22

The 7th edition of the
Record Retailing Directory
continues to influence the
music industry buyers who
purchase the products and
services offered by record
companies, wholesalers &
distributors, accessory
manufacturers, etc. The
RRD contains 7,000 updat-
ed iistings of independent
record and chain stores,
chain headquarters, and
audio book retailers. One
ad in the 1997 RRD can
work for you all year long!

FEBRUARY 1, 1997 HOT R&B SINGLES

THIS

WEEK

LAST

WEEK

2WKS

AGO

WKS. ON
CHART

TITLE ARTIST

f*RODUC£R (SONGWRITER) LABEL i NUM8£R/PROMOTK>N LABEL

PEAK

POSITION

★ ★ ★ No. 1 ★ ★ ★

I BELIEVE I CAN FLY (FROM "SPACE JAM") BwwksatNo.l ♦ R. KELLY

R.KElit (R KELtn (V)0U WARNER SUNSET, 'ATLANTIC

ON & ON ♦ ERYKAH BADU

8-P0V/£ft.J.JAIML (E.BADU JJAUAL; (C) (D) IT) KEOAR 56002AJNiyERSAl

DON'T LET GO (LOVE) (FROM "SET IT OFF') A ♦ EN VOGUE

ORGANtZED N0I2E (ORGANIZED H(R2E A.MAAriN.I MATUS.M ETHERIDGE! ICI (Dl IWI 171 (Vl Ul EASTVlTST 6423I.TEG

1 BEUEVE IN YOU AND ML^VEBODY BIGGER THAN YOU AND 1 IFROU -THE PREACHER’S WlFT) ♦ WHITNEY HOUSTON
: f ::STtR,WHOi;STON,R MI^C« aClFERT.S LlNZ£R,i IAKGLH HEATH,S.BJP-.E.i Cl lO) (Ml [Ti (VI 0(1 ARISTA 13293

IN MY BED ♦ DRU HILL

O.SiMIAONS (R.BROWN.R.B STACY.O.SIMUONS) <C) (Dl ISLAND 654BS<1

CAN'T NOBODY HOLD ME DOWN ♦ PUFF DADDY (FEATURING MASE)

;jH>;-AN'»a5cc«s‘^E; ,»e_„a._:.'j:^\>r'Px«8ETwi5«a'm«;AueRSi^^^

UN-BREAK MY HEART A ♦TONI BRAXTON

D r OSTER (O.WARRENI IC) 10) (M) (11 fVj (X) LAfACE 2420CyARlSTA

NOBODY A ♦ KEITH SWEAT FEATURING ATHENA CAGE

K SWEAT (K SWEAT.F.SCOm (C) (D) m (V) (Xl ELEKTRA 64245iEEG

WHAT KIND OF MAN WOULD 1 BE • ♦ MINT CONDITION

MINI CONDITION (L WAODLlLI (C) (0: :X) PERSPECTTZE 58755&'AiM

I’M STILL IN LOVE WITH YOU/YOU DON'T HAVE TO WORRY ♦ ♦ NEW EDITION

AV • ;£imS,SiXMBiC T-OWSCA 0H«»5 tl T IT« SCOWS£ !-Ml«C#i.iia»’ D G ;■ ■MiH tWCROl 1 t( iWUT) DC' 4S»

COLD ROCK A PARTY ♦ MC LYTE

S SMITH SO*KJ>;«Kl£TTi.SItrt JJ5.lAWR[NXlMC LYTt.PSMffli E>*^3S S *C«!5i D lOlUi m LCTLDT MZIZGG

TEARS ♦ THE ISLEY BROTHERS

A.WlNbUSM,R.rSt£V (BASYFACEl iC; iDi T-NECK 854862'SLANO

NO TIME ♦ LIL' KIM FEATURING PUFF DADDY

S COMBS.STCVIE J. (K.JONES.S.COMBS.S.iORDANJ BROWM (Ci (0) (T) UN0EAS/8IG BEAT 980447ATLANTIC

CS)

NEWK

★ ★ ★ Hot Shot Debut ★ ★ ★

EVERYTIME 1 CLOSE MY EYES ♦ BABYFACE

BABYFACB (BABYFACE) (C) (D) 00 E»C 78485

PONY A AGINOWINE

IIMBALAND (E.LUMPKIN.T.MOSLEY.S.GAftREn) (C) (Dl m 550 MUSIC 78373,'EPIC

1 CAN MAKE IT BETTER ♦ LUTHER VANOROSS

L VANOROSS.M MILLER (L VANDROSS.M MILLER) (C) (0! IVI (X) LV /846b'EPlC

NO DIGGITY A ♦ BLACKSTREET (FEATURING OR. DRE)

r «i£Y.w s'EW)*; rr.RiiE',: kwibh. l.wxitiriw stew«t.or.o«£.' -livis.D pcrter) iq ioj'Mi itiu.- iMt.ssccfE stcot

TELL ME (FROM “EDDIE") • ♦ DRU HILL

S.BftOWN IS BROWN, M.OAVISA.CANTRALU (0 (0) ISLAND 854660

LAST NIGHT (FROM "THE NUTTY PROFESSOR") • ♦ A2 YET

BA8YFACE.M.WARREN (BABYFACE.K .ANDES) CKOXMXTI IV) (X) LAFACE 241St/ARtSTA

COME SEE ME ♦112

TIM & BOH (T KULi Y.B RO6INS0N.S COMBS. T.KELLYI (C) (D) IT) (XI BAD BOY 79073/ARlSTA

STEELO ♦ 702

CELLiOTT.G PEARSON IC ELUOn.M. ELLIOTT .0 PEARSON.G.SUMNERSl (CKOXDSIV 10 86053aMOTOWN

IT’S YOUR BODY ♦ JOHNNY GILL FEATURING ROGER TROUTMAN

) GILL IJ.GILL. (Cj (Di MOTOWN 86046?

KNOCKS ME OFF MY FEET/YOU SHOULD KNOW ♦ OONELL JONES

0 WHiniNGTON.E f EPRELL.MOOKit IS.WONDLR.D jONLS yOOWE.E f (PPEU.: iC! (01 ai (V) (XI LAFACt 24210i'ARlSTA

NOTHIN' BUT THE CAVI HIT (FROM "RHYME & REASON") ♦ MACK 10 & THA DOGG POUND
DAT NIGGA DAZ (O.ROIISON,DJ(RNAUD.R BROWN; (C) (D) (T) BUZZ TONE 53263rPR10RrTY

★ ★ ★ Greatest Gainer/Sales ★ ★ *

DA’ DIP FREAK NASTY

FREAK NASTY (FREAK NASTY) (0 (Tl (X) HARO HOOCVPOWER 0! t2/TRIAD

NE\

«►

THINGS’LL NEVER CHANGE/RAPPER'S BALL ♦ E-40 FEATURING BO-ROCK

M V0Sir.r C£TLNXV(T ftCSKS i STOeHS V K)Sl£r.r CUCnmCE.6 H0m56TA au«s.l W W ». HMIIYI (0 01 SD. wcr rr 4Z4%> AT

NEWP^

WATCH ME DO MY THING (FROM "ALL THATI ♦ IMMATURE FEAT. SMOOTH AND EO FROM GOOD BURGER

C.STOKES.C.CUENI iC.STOKES.C.CUEM.KEi: (C) (0) (T) LOUD 64737

THIS IS FOR THE LOVER IN YOU ▲ ♦ BABYFACE FEAT. LL COOL J. H. HEYVEH, J. WATLEY & J. DANIELS
BABYFACE (H.HEWETT.O.MEYEftSj (C) (01 fT) (V) (X) EPtC 78443

★ ★ ★ Greatest Gainer/Airplay ★ ★ ★

WHAT THEY DO ♦ THE ROOTS

BROTHER QUESTION (TR0TTER,TH0MPS0N.KUBBAR0,GREY,6R0WN,R SAAOIQ} (C) (0) (Tl (XX 19407.4XFFEN

MISSING YOU (FROM “SET IT OFF’) ♦ BRANDY. TAMIA, GWDYS KNIGHT & CHAKA KHAN

e J.EASTMONO (8 J EASTMONO.G CHAMBERS: (Cl 10) (V) EASTWEST 64262'EEG

STREET DREAMS • ♦ NAS

. • 0(.r,'iEB.RE0 ho: lOitP TC«L lA J,«NC)l,0 StEWWI.N JCfilS J C OUWERSBARKESI (Cl lOHU) ai (XI COlUMKA 78*09

YOU’RE MAKIN' ME HIGH/LET IT FLOWA ♦ TONI BRAXTON

BABYFACE.B.P WILSON (B WILSON.BABYFACE' iCl (0) (M) (Tl (VI (X) LAFACE ZAlBO/ARtSTA

GET UP ♦ LOST BOY2

C KENT .MR SEX (MR CHEEKS.F TAH) (G (0) (Tl UNIVERSAL 56032

LUCHINI AKA (THIS IS IT) ♦ CAMP LO

SKI iS WALLACE.S WILDS.D WILUS> <0 iT! PROFILE 5458

FALLING • ♦ MONTELL JORDAN

J E X)NES IM X3R0AN J E X)NESA TYlER.T.ALLENl iC) iO) iTl DEF JAM 57564a'MERCURv

IN YOUR WILDEST DREAMS TINA TURNER FEATURING BARRY WHITE

T HORN iM, KNIGHT, M.CHAPMAN' (C) (01 (T) VIRGIH 38578

ONLY YOU • ♦ 1 12 FEATURING THE NOTORIOUS B.I.G.

SCOMK.iU.lE. SCCV25jXPDAV,«SyxCPO;,v=V>-[P.U.'BTH.D.<>.£S.S.!)aEfiS^-.a^^^^^ i:ilD,-mKY|.X)603CY7-060yifiU

YOU DON’T HAVE TO LOVE ME ♦ MONIFAH

HEAVY D (HEAVY O.T.ROBINSON) (C) (0) UPTOWN 56026i'UNIVERSAL

SUGAR HONEY ICE TEA ♦ G000FELLA2

7HE FAMILY STAND (J.SMITM.P.LCRC.D AVEME.JR ,K BOREIAND.' (Cl (0) AVATAR'POIYDOR 581914.'A4M

ASCENSION (DON’T EVER WONDER) ♦ ♦ MAXWELL

MUSZE (MUSZE.SHURi (Cl (0) (Tl IX) COLUMBIA 7B372

AIN'T NOBODY (FROM "BEAVIS AND BUH-HEAD DO AMERICA") ♦ LL COOL J

R SMITH (H.WOLINSKU.T.SMITH) (C) (Tl GEFTEN 19410

YOUR SECRET LOVE ♦ LUTHER VANDROSS

l VANDROSS (LVANOROSS.R VERTELNEYl IC) (0) (V) LV 7840a-EPX

RE-ENTRY

LET ME CLEAR MY THROAT DJ KOOL

OJ KOOt-S'X.F OERBV (D: KOOl) (C) (Tl (X>CLfVAMFRICAN 17441, 'WARNER BROS

IF YOUR GIRL ONLY KNEW ♦AALIYAH

tiUBALAND tf lAOSlLY M ELUOTTl (Cl (Tl (X) BLACKGROUNO 98067/ATLANTtC

NEVER MISS THE WATER ♦ CHAKA KHAN FEAT. ME’SHELL NOEGEOCELLO

O.GAMSON (G DlVLAUX.C.MOlL.i ICI ID) (T| IV) iX) R[PRISE 17503'WARNLR BROS

IT’S ALL ABOUT U ♦ SWV

A.GOKOON. JR. (AU^TAKjX.MARtlN.A.BURROUGHS) (C) (DJ (T) RCA 64735

ATLIENSAVHEELZ OF STEEL ♦ OUTKAST

OUTKASI (A BLNJAMINA PAnONI (C) 10) (T) LAFACE 24196,<ARISTA

NEWP-

YOU WILL RISE ♦ SWEET8ACK FEATURING AMEL LARRIEUX

SWEfTBACK (A KALE.A LARRIEUJLS.MAnHEWKtAN.P.OENMAN) (C) ID) EPtC 78509

TWISTED A ♦KEITH SWEAT

K.SWlAT.L.WCCAiKf iK.SWtAT.F MCCAINE.KUT KLOSLi iCi •DMMl :T)(V)1XI ElEKTRA 64?82,'EEG

COMPILED FROM A NATIONAL SAMPLE OF R&B RADIO
AIRPLAY MONITORED BY BROADCAST DATA SYSTEMS,
R&B RADIO PUYLISTS, AND RETAIL SINGLE SALES COL-
LECTED. COMPILED, AND PROVIDED BY |°|||||| '

THIS

WEEK

LAST

WEEK

2 WKS
AGO

WKS. ON
CHART

TITLE ARTIST

PRODUCER (SONGWRITER) LABEL & NUMBER/PROMOTX)N LABEL

PEAK

POSITION

NEVER LEAVE ME ALONE ♦ NATE DOGG FEATURING SNOOP DOGGY DOGG

XORUPT Tl^ XINCPIK (NATE OOGG.S»*30P KXXY OOGCA WCOOHAID.W SALTER) (0(0) DEATH ROWSTOlZflNTBlSCOPE

SPIRITUAL THANG ♦ ERIC 8ENET

E BCNL1.G.NASH.JR..O.POSEY lE.BEMET.G.NASH.JR .O.POSEY) (C) (0) (T) (V) WARNER BROS. 1743B

ONLY LOVE ♦ THE BRAXTONS

A.GORDON (AILSTAR.A MARTlN.I.IMTlASABURROLK^) (C) (D) ATLANTIC 67017

HOW COULD YOU (FROM “BULLETPROOF") ♦ K-CI & JOJO OF JODECI

JON-JOHN (J.i.ROBlNSON.G STEWART.J.EUAS) (Cl (D) MCA SOUNDTRACKS 5S27»)ACA

BOW DOWN ♦ WESTSlOE CONNECTION

BUD DA (ICE CU8E.MACK lO.W C^BUD-OA) IC) (0) (T) LENCH MOB 53227/PRlORlTY

FLOATIN’ ON YOUR LOVE ♦ THE ISLEY BROTHERS FEAT. ANGELA WINBUSH

A.W1NBUSH.R.IU.LY.S.COMBS.S JORDAN iR.lSLEY.A.VnNBUSH.R.GRIFFlN] IC) (0) (T) T-NECK 8S473&TSIAN0

WHATEVA MAN ♦ REDMAN

E SERMON (E.SERMDN.R NOBLE: iD OEF JAM 574027*.M£RCURY

LIVING FOR THE CITY ♦ ROGER & 2APP

R.TROUTMAN (S.WONOER) (C) (0) (T) (V) (X) REPRISE 175KVWARNER BROS

WHEN BOY MEETS GIRUDO YOU THINK ABOUT US ♦ TOTAL

SPACE JAM (FROM “SPACE JAM") QUAD CITY DJ’S

J MCGOrVAN.C £ LtM0>KA0 U XKXCWAN.N ORANCXYBIWWiT’ (C) lDI(J)(Xi BKjetATYrABNER SUNSET 87018ATUvnc

NEW^

WHAT'S ON TONIGHT ♦ MONTELL JORDAN

OEVANTE (M JORDAN, DEVANTE.J.E.XINES) (T) DEF JAM 574033*:MERCURV

MY BABY MAMA ♦ QT

C.THORNTON.B TILLMAN (C.lHORNTON.B.TlLlMANi (C) tO) (T) (X) ROWDY 3S093/ARISTA

THE SOUND OF MY TEARS DEBORAH COX

K.CROUCH (K.CROUCH.K.JONES) iC) lOl (T) (X) ARISTA 13277

LEAVIN' ♦ THE TONY RICH PROJECT

T.RICH n.RlCH) iC) (0) (T) (XJ LAFACE 24204/ARlSTA

RUNNIN’ 2PAC. NOTORIOUS B.I.G., RADIO. DRAMACYDAL & STRETCH

EASY MO BEE (2PAC.THE NOTORIOUS 6.I.G..RADK>.DRAfMCYOAli (Cl MERGELA/SOlAR 70134,HINE$

THE FOUNDATION ♦ X2IBIT

MUGGS (AJOINER.I.MUGGERUO.B.JOEU iC) (0) (T) LOUD 64706

FLY LIKE AN EAGLE (FROM "SPACE JAM") ♦ SEAL

SEAL (S.MILLERI (C> (0) Zn, WARNER SUNSET 8704b'ATlANTIC

NEW^

THE MC KRS-ONE

DOMINGO (l.PARKER.O PAOILIAI CD JIVE 42425*

JUST WANNA PLEASE U ♦ MONA LISA

OJ CLARK KENT (R FRANKUN.M IISA.B CAlDWtLt.A KETTSER.K PRICEi (C) (0) (Tj ISLAND 854834

MUSIC MAKES ME HIGH ♦ LOST BOYZ

MR SEX (MR. CHEEKS.F TAH! (C) (M) (T) (X) UNIVERSAL 56022

SITTIN'ONTOPOFTHEWORLD# ♦ DA BRAT

J DUPRI (J.DUPRI.OA BRAT.R JAMESI (C) (T) SO SO D£F 78426XOLUMBIA

NEW WORLD ORDER ♦ CURTIS MAYFIELD

C MAYFIEL0.8.FLEM1NG.CGL0VER.R vrOOOSlC.MAYFlELO.B.FlEUING.R.THOMASi (Cl (0) WARNER BROS. 17568

YOU GOT ME GOIN' ♦ II D EXTREME

T.aRMOi.DtXTiW ftHir •fUERwNS.L WlEY.C m:myj.TAjLOAj SKrWK.f WESlEYl C; (Tl (XCLiHL 5&27&MCA

NEW^

THE WORLD IS MINE (FROM “DANGEROUS GROUND”) ♦ ICE CUBE

ICE CUBE (la CUBE; (T) JIVE 42398*

THAT’S HOW IT IS (IT’S LIKE THAT) ♦ REDMAN FEATURING K-SOLO

R.NOBLE <R.N(»L£,J.WILUAMS.K.KriAlEEL.L.S£RMON) IT) OEF JAM 573201 ’/MERCURY

BEFORE 1 LAY (YOU DRIVE ME CRAZY) CECE PENISTON

I HAILEY IJ HAILEY, O.PEAHSON) (Cl (0) (Tl (X) AiM 582004

YOU COULD BE MY BOO ♦ THE ALMIGHTY RSO FEATURING FAITH EVANS

CRAZY C (M ENNIS.R SCOfT.S CULUNS' (Cl (D) RAP-ALOT/NOO TRVBE 38571/YlRGIN

RETURN OF THE MACK MARK MORRISON

M MORRISON.P.CHIU (U MORRISON.P CHILLI CD ATLANTIC 85443*

IT’S ALRIGHT ♦ KAYCEE GR(DGAN

CeRtEDMG,O.ALORlDGC IC BRCEDiNQ.DALOftIDGE.B TILIAUN.R CARTER.N GtSCOWBEi (0 (D OU CaUMBU 78376

BOHEMIAN RHAPSODY (FROM "HIGH SCHOOL HIGH”) ♦ THE BRAIDS

S JENKINS, E VALENTINE (F. MERCURYl (Cl (0) (T) (XJ 6K> BEAT 98055/ATLAN7IC

MORE TO LOVE ♦ CASE

■ aiDi|TlSWD(CTTp(W«l57565<Vl9a'^

STRESSED OUT ♦ A TRIBE CALLED QUEST FEATURING FAITH EVANS

THE UMMAH (K.FARREEO.A.MUHAMMAO.M TAYLOR.O MIliS.G TAYLOR) (T) (X) JIVE 42420’

SMILE ♦DAYTADAY

R.MCFADGEN.E.HAIRSTONUR. (R.MCfAOGEN.E.HAlRSTONjR.) |C) (0) (Ml (Tj (X) JlREH 55192/MCA

BEEN FOUND ASHFORD & SIMPSON WITH MAYA ANGELOU

(N.ASHFORO.V.SIMPSON.M ANGElOU) (C) (VI (X) HOPSACK & S(LK SSartCHiBAN

LOVE YOU SO ♦ SOUL FOR REAL

S.COMBS.STEViL J (M.SCANDRICK.M.KEnH.Q PARKER.O JONES) (a (T) (X) UPTOWN 5603^NIVERSAL

JUST THE WAY (PUYAS PLAY) ♦ ALFONZO HUNTER

E SEPM3N i£ SEPMJNAHLMTEfl.t eufttOH.C.GIPP.W kNGHT(XOP 3AMZEO kOZERBAANOT! tO iD, iU :T) CO KF SQlLU 5BS79EU

LOVE ME FOR FREE AKINYELE

F.CUTLASS IAJ(DAMS.F.MALAVEJ (C) IT) ZOO 34267/VOLCANO

LET'S RIDE ♦ RICHIE RICH

A MALIK (AMAUK.R SERREILG CLINTON. JR J> WYNN) (0 (0) (nOAKlAND HILLS 4151CH)EF -AM 675774M£RCURY

LADY ♦ MISTA

ORGArgiZEO NOIZE (ORGANIZED NOIZE.M ETHERIDGE) (C) (01 EASTWEST 64222tEG

THE RHYME ♦ KEITH MURRAY

E SERMON (K MURRAY.C.SERMON.F.BEVERLY) (T) JIVE 42405’

100

SUKI SUKl NOW O.J. TRANS

DJ TRANS (T WEEKES.J NASH.G ROBERTS) IC) m (X) AniTUOE 17029

IT AIN'T EASY (LIVIN’ WITHOUT U) DALIA

R SHELTON (R.SHELTON) (C) (0) WCGPURE 642331.MERCURY

HOW CAN WE STOP HORACE BROWN FEATURING FAITH EVANS

S.COMBS.STEWE J (H.SKOWN.S.COMSS) (C) (D) MOTOWN 660588

LOVE IS ON THE WAY (FROM "THE FIRST WIVES CLUB") BILLY PORTER

P.Zl2ZO(P.ZlZZO.O.RlCH.T.SHJ^ER) (Cj (0) 0V8 58196&-A&M

NOBODY ELSE ♦ ANTHONY HAMILTON

J C.OUVUR (AH*MILTONJ.C.OL(VI£R.G.R.PEARSONJ JENKMS.R MlODlETON.S BARNCSl (0 (0) (Ml (ThX) MCA 55215

WHO IS HE AND WHAT IS HE TO YOU ♦ ME'SHELL NOEGEOCELLO

0 GAMSON (S WiTHERS.S.MCKENNYl (Cl (0) (V) MAVERIOOREPRrSE 17600WARNER BROS

WHAT'S LOVE GOT TO DO WITH IT (FROM “SUPERCOP") ♦ WARREN G FEAT. ADINA HOWARD

WARREN G IT.BRITTEN.G.LYLE) (Cl (0) INTERSCOPC 97Q08

SLOW JAM RENAIZZANCE

UNCa JAMZ.E-eO (BABrf ACE.S.JOHNSON.B WATSON.B.UPSCOMB) (C) (XI AIL NET 2864

LOVER'S GROOVE ♦ IMMATURE

C STOKES :C STOKES, C.CUENIi (C) (0) (Tl IX) MCA 65234

STAY WITH ME ♦ JASON WEAVER

R.JERKINS.K DEANE <H BROWN) (M) (T) (X) MOTOWN 860691*

100

BUCKCINDERELU POSITIVE K

T.RILEY IR.TROUTMAN,L.TROUTMAN.S,MUROOCK.O.GIBSON.T RILEY) (C) (T) POSK 80002,FUNKY BROADWAY

O F^ecords with the greatest airplay aod sales gains this week. Greatest Gainer/Sales ar>d Greatest Gainer/Airplay aie awarded, respectively, for the largest sales and airplay inaeases among singes below the top 20. ^Videoclip availability. •Recording Industry Assn. Of America
(RIAA) certification for sales of 500,000 units. A RIAA certification for sales of 1 million units, with additiorral million irKf»cated by a numeral fdlowmg the symbol. Catalog number is for cassette Single. *Asterisk indicates catal^ number is for cassette maxi-singte: regular cassette
single unavailable. (C) Cassette single availability. (D) CP single availability. (M) Cassette maxi-sirvgle availability. (T) Vinyl maxi-single availability. (V) Vinyl single availability. (X) CD maxi-single availability. '6 1997, BiUboard/BPI Communications.

BILLBOARD FEBRUARY 1. 1997

3illb00td. FEBRUARY 1, 1997

Hot R&B Airplay.

Compiled from a national sample of ain^lay supplied by Broadcast Data Systems' Radio T rack service. 95 R&8 stations
are eiei::tronicallymonitored24hoursaday.7days3 week. Songs ranked by gross impressions, com puled by cross-
referencing exact times of airplay with Artxtron listener data. This data is used m the Hot R&B Singles chart.

TITLE

AATIST OABa’PROMOTtON lASLl:

[ LAST WEEK 1

TITLE

ARTIST ILABEL/PROMOTION LABEL)

* Ik NO. 1 ★ A

STREET DREAMS

NAS (COLUMBIA'

ONE IN A MILLION
Altm/VHAAIXSnXfOAnANIIQ

DON'T LEAVE ME

BIACKSTREET (INTERSCOPE)

DONT LET GO (LOVE)

EN VOGUE (EASTV/ESTjEEG)

YOU DONT HAVE TO WORRY

NEW EDITION (MCA)

WHAT KIND OF MAN WOULD 1 BE

Mira CONDITION (PEriSPECTIVE/ASM.

DA' DIP

FREAK NASTY (HARO HOOO/POWERmUAO)

1 BELIEVE 1 CAN FLY

R. KELLY (WARNER SUNSn/ATLANTKV/n^

ASCENSION (DONT EVER WONDER)

MAXWELL (COIUMBTAI

ON&ON

ERYKAH BAOU (KEOAI^UNIVERSALl

SOMEBODY’S SOMEBODY

•?-(NPG/EMI>

NOBODY

KEim SV^T FEAT. ATHENA OGE EElDCnuMIGj

KNOCKS ME OFF MY FEET

DONELLiONES LAFACE/ARISTA)

IN MY BED

ORU HIU(ISLANO)

I’M sna WEARING YOUR NAME

ANN NES0Y ;Pi RSPECtrVL'A&M)

LETS GET DOWN
TONY TONI TONE (MERCURY)

irs YOUR BODY

JCmWGU FEAT. nCGER TROimAiN iMCm3WT«

1 BELIEVE IN YOU AND ME

WHITNEY HOUSTON (ARISTA)

1 AINT MAOATCHA

2PAC (DEATH ROW/INTERSCOPLI

UN-BREAK MY HEART

TONI BRAXTON (LAFACE/ARISTA)

BIG DADDY

HEAVY 0 (UPTOVrNnjNIVERSAL)

PONY

GINUWINE (550 MUSIC/EPlC)

WHAT THEY DO

THE ROOTS (OGCGEFFEN)

GET ME HOME

FOd 6R>SN FEAT. a/CKSTCErMOAIOTCC

CRUSH ON YOU

ll'KMF£AT.li.-CE/SllM»GeGEEATAllFNn3

3J)

FOR YOU 1 wia

MONICA (WARNER SUNSET/ATIANTIC)

JUST A TOUCH

KEITH SWEAT lUEKTRA/EEG)

I'M STILL IN LOVE WITH YOU
NEW EDITION (MCA)

YOUR SECRET LOVE

LUTHER VANDRCG5 (LV/EPIC)

NOOIGGITY

BIACKSTREET (FEAT. OR. ORO (INTERSCOPC)

IN YOUR WILDEST DREAMS

TINA TURNER FEAT. BARRY WHITE (VIRGIN)

NEVER GONNA LET YOU GO

BIACKSTREET (IM£RSC3P£ ■

GET UP

LOST BOY2 (UNIVERSAU

1 CAN MAKE IT BETTER

LUTHER VANOROSS (LV/EPIC)

FALLING

MONTELL JORDAN (OEF JAAWERCURY)

TELL ME

ORU HILL (ISLAND)

I’M NOT FEELING YOU

YVEHE MICHELLE (LOUD)

NO TIME

U'NMFEAT.RiFClCOrCLKXJGBCEEAmtNna

SNOOP'S UPSIDE YA HEAD
9/OCP DCXjGY OOGG (DEATH FOWtNTERSOCPO

EVERYT1ME 1 CLOSE MY EYES

BA6YFACE (EPIC)

TWISTED

KEITH SWEAT lUEKTRA/EEG)

TEARS

THE ISlEY BROTHERS (T-NECKriSlANOl

THINGS'LL NEVER CHANGE

E-40 FEAT. BO-ROCK (SICK WID' IT/JIVE)

32)

WATCH ME DO MY THING

MMU€FE«.9>a)IHWOa>FrO.I<3X(>0J^

GET rr TOGETHER

702 (81V ICkWOTOWN)

LAST NIGHT

A2 YET (lAFACE/ARlSTA)

IF YOUR GIRL ONLY KNEW

AALIYAH (BLACKGROUNO/ATLANTIC)

COLO ROCK A PARTY

MC LYTE .EASTW£$T/tEGj

NOTHIN' BUT THE CAVI HIT

:oiTm!JO>jf«/ro:a;77TOftP»>aft

8ETCHA BY GOLLY WOWI

.^(NfHS/EWJ,

YOU WtU RISE

SWEETBACK FEAT. AMEL LARRIEUX (EPIC)

COME SEE ME

I12(8A0 BOY/ARiSTA)

YOU DONT HAVE TO LOVE ME

MONIFAH (UPTOV/Hi'UNIVERSAi :

Bia

PFGGY (MBS anOtMARDI GfVS

PLAYA LIKE ME AND YOU

C» ()R DC FEAT. jattW P (FWMLL0WOO TTheO

SUMTHIN' SUMTHIN'
MAXWELL (COLUMBIA)

YOU DONT HAVE TO HURT NO MORE

MINT CONDITION (PERSPECTIVE/A&M)

3®

CANT NOBODY HOLD ME DOWN

PUFF CADDY (FEAT. MASEi (BAD BOY/ARSTA)

ALL THAT 1 GOT IS YOU
0(CEIFA(ZFUAHFEAT.M<ffria££ftA2}t»VP)

STEELO

702 (Brv lOklOTOWN)

NEVER MISS THE WATER
01R(AI»W(FE(VI«»LFCEHZBilXeRraiNa

YOU’RE MAKIN’ ME HIGH

TONI BRAXTON <LAFACE.AR.STA>

WORLD SO CRUEL

Fl£SHT4«0NE (MO THIX^DEF iAMrJERCURY)

MISSING YOU

BRANDT. rA/AAGKNOff&C)MNf£ASTW4ST)

RAPPER'S BALL

E-40 FEAT. TOO SHORT & KO (SICK VW tr/WE)

HAIL MARY

MAKAVELI (PEATH ROW/INIERSCOPEi

RUMBLE IN THE JUNGLE
RX3EIS«ArAKaer*M<S#CfCKll(l>€[WlJ'eDJ

1 LOVE ME SOME HIM

TONI BRAXTON ..^FACEARtSTA'

THUG DEVOTION

MO THUGS FAAULY (fAO THUGSn^ElATIVITY)

THIS IS FOR THE LOVER IN YOU
BABYFACE (EPIC)

SHO NUFF

THAFEAT EDHTBia&kUGaM/EHClA&FBAlMIV}

TOSS rr UP

MAKAVELI (DEATH ROW/INTERSCOPEl

THE LORO IS REAL (TIME WIU REVEAL)

BIACKSTREET iiMEfiSCCr^f'

ONLY YOU

1 1 2 FEAT. T)« NOTCRIXS Bia IBAD BOYARSTA)

LUCHINI AKA (THIS IS IT)

CAMP 10 (PROFILE)

CD Records with the neatest airplay gains. ® 1997 Billboard/BPi Communications.

HOTR&BRECOH

RENl

r AIRPLAY

MY BOO

GHOST TOWN OTS (SO SO DEFAX)LUAtBlA)

NOT GON' CRY

MARY J. BL>GE (ARISTA)

TOUCH ME TEASE ME

CceEFEAT FDOaeRVArCFCUDRDTT&tOEFJWb

ME AND THOSE CREAMIN’ EYES OF MBC

D'ANGELO (EMI)

GET ON UP
-JOOECMMCA)

IF 1 RULED THE WORLD

NAS (COLUMBIAI

HIT ME OFF
NEW EDITION (MCA)

HOW DO U WANT IT

2(W;mTKC&XUO) (DEATH IVWVaERSCCPO

USE YOUR HEART

SWV(RCA)

LOUNGIN

LL COOL J (OEF JAhVMERCURY)

1 CANT SLEEP BABY (IF 1)

R, KELLY (JIVE)

KISSIN' YOU
TOTAL (BAD BOY/ARISTA)

KILUNG ME SOFTLY
FUGEES (RUFFHOUSEiCOLUMBIA]

TEU ME

GROOVE IHECRY (EPIC)

ALLTHETHMGS (YOUR MAN WONT DO)

XX (ISLAND)

BEFORE YOU WALK OUT OF MY UFE

MONICA (ROWOY/ARISTA)

ALWAYS BE MY BABY

MARIAH CAREY (COLUMBIA)

YOU’RE THE ONE

SWVIRCA)

WHY 1 LOVE YOU SO MUCH
MONICA (ROWOY/ARISTA)

THA CROSSROADS

BCeC T)4JGS N 1 PfIMaNY IRUTHISSREIATMTY)

THE THINGS THAT YOU DO

GINA THOMPSON (MERCURY)

CAN'T YOU SEE

TOT/a FEAT. THE NOTCROUS BJ.a (TC»*Tr 8CW

SITTIN’ UP IN MY ROOM

BRANDY (ARtSTA)

C'MON N' RIDE IT (THE TRAIN)

QUAD CITY DJ'S (QUAORASOUHD'SiG BEAT)

LADY

O'ANGELO (EAfI)

Recurrents are trtlo which have appeared on the Hot R&B
Singes clurt for 20 weeks and have dropped below me top SO

R&B SINGLES A-Z

TITLE (Publtshei - Licsflsjng Org.) Sheet Music Dist

41 AIN'T NOBODY (FROM BEAViS AND BUn-HEAD DO
AMERICA) (Full Keel, ASCAP) WBM
40 ASCENSION (DONT EVER WONDER) (Sonv/ATV
Tunes ILC. ASCAP/Musiewell. ASCAP/ltan Shur.
BMI/EMI April, ASCAP) HL

47 ATUENSmHEELZ OF STEEL (Chrysalis. ASCAP/Gnat
Booty, ASCAP) WBM

83 BEEN FOUND (NicA-O-Val. ASCAP/Guycol. ASCAP)

75 BEFOREIUY(VOUDRrVEMECfUZy)(Wl4iw.

ASCAP/fM/M ASOm ASCMWAac^^
lOG BLACK CINDERELLA (Saja.BMI/Songs Of Lastrada.
BMI/TK. BMI)

79 BOHEMIAN RHAPSODY (FROM HIGH SCHOOL HIGH)
(B Feldman & Co/Tndent ASCAPA^Ienwood, ASCAP) HL
54 BOW DOWN (<lMBD».ASCAP/mASCAP/^P(e,
An Ruf/CCAWditenFirwti ASCAP)

It COLO ROCK A PARTY (Brooklyn Based. ASCAP/8MG.
^CAPy^tnard s Otfiet. BMl/^ny/ATV Sones,
BMI/Tommy )ymi. BM1/W8mer-Tamerlai>e, BMI/tMl
Apni. ASCAP/iustin Combs. ASCAP) HL/W8M
20 C0MES££MEa)m4FMe$.eMI/Bunef)ni.BMUJustifl
Combs. ASCAP/EAtl April ASWAS Sam. ASCAP) HL
25 DA' DIP (Eric Timmons)

3 DON'T LET GO (LOVE) (FROM SET IT OFF)
(Organued Noue. BMI/Hitco. BMI/Sailandra.
A^P/Rondor. ASCAP/On« 01' Ghetto Hoe, ASCAP/WB.
ASCAP/Beft Star. ASCAP/Almo. ASCAP) WBM
14 EVERYTIMEICLOSEMYEYEStSony/ATVLLC.
BMI/Ecaf. BMI)

35 FALUN6(0riveby.BMI/X-Men.BMI/T4ewUne.

BMDSony/ATV LLC, BMI) HL
55 FLOATIN' OH YOUR LOVE arue Blue Rose.

ASCAP/WB. ASCAP/Grifbill. BMI/Xay-R-Go, BMI) WBM
86 FlYUK£ANEA6l£(FROM$PAC£JAM)ISatr.ASCM^HL
65 THE FOUNDATION (Henn^ For Everyone. ASCAP/SoU
Assassits. ASCAP/MCA. A^/Impiisrve. ASCAP)

33 GETUP(LBFam.ASCAP/Clark’sTrueFunk.6MI/
Mr.Sex. ASCAP/Scarab. BMI/Ensign & Sasha. BMI)

92 IK)W CAN WE STOP (Zomba.BMV^ace Brown.
BMI/)ustin Combs. ASCAP/EMI April. ASCAP/Amani,
BMI) WBM

53 HOW COULD YOU (FROM BULLETPROOF) (Sony/ATV
lie. BMI/Yab Yum. BMI/Brownlown &und. Ml/

:VE I CAN FLY (FROM SPACE JAM) (20mba.

4 I BELIEVE IN YOU AND ME/SOMEBODY BIGGER
THAN YOU AND I (FROM THE PREACHER'S WIFE)
(Charles Koppelman. BMl/Martm Bandier, BM(/Jonathan
Three. BMl/Uuer. BMI/Bullseye, ASCAP) HUW8M

16 I CAN MAKE IT BETTER (EMI J^LASCAP/lInde
Ronnie's. ASCAP/MCA. AS(>lP/Thiiiter MMer. ASCAP) HL

44 IF YOUR GIRL ONLY KNEW (Virginia Beach.
ASCAP/Mass Confusion. ASCAP^. ASCAP) WBM

10 I'M STILUN LOVE WITH YOU/YOU DONT HAVE TO
WORRY (EMI. ASCAP/FMe Tyme. ASCAP/tMl Apnf.
BMUJustin Combs, BML^intn SbWt Tunnel.
BMI/Oynatone. 8MDHL

5 IN MY BED (Brown Lace, BMI/Zomba. BMI/StacMoo.
BMI/Wamer-Tamertane. BMI/Boobie-Loo. BMI) vm

36 IN YOUR WILDEST DREAMS (Cdgerm-EMI. ASCAP/
Kn^ty-Knighl ASCAP/Mika Chapman. ASCAP)

91 rTMin EASY (UnN’WmtOUTU) (Rodney Shelton.

ASCAP/Coppef Sun. ASCAP)

46 rrS ALL ABOUT U(AJ's Street ASCAP/AIrno.

ASCAP/Saiiandra. ASCAP/Reermo. ASCAP) WBM
78 nrs ALRIGHT arack Team. BMI/Dalos. BMI/Junior.
ASCAPAVB. ASCAP/Robert Carter) WBM

22 ITS YOUR BODY arusty Boots. ASCAP)

85 JUST THE WAY (PLAYAS PLAY) (ErKk Sermon,
ASCAP/Zomba, BMI/CopyrightCo^l, 6Mt/0r^i2ed
Noiee. BMI/Hiico. BMI/G^ie Mob. BMI) WM

68 JUST WANNA PLEASE U (Clark's True Funk.
BMUKimdeal, ASCAP/Loneiude. BMI/Undseyanne.
BMl/The Music Force, BMlAiusic Corporation Of
Amenca. BMI/Ihe Price Is RighL BMI) WBM

23 KNOCKS ME OFF MY FECT/raiu SHOULD KNOW (Bbtk
. BiAAS(AP/ttele.ASC«PMxAPt«».ASCAP/Zi^

ASCAP/f tar* my. ASCAP/Ttos. Capone.

ASCAPiQecA ASCAP/Warner (iec^^

88 LADY (0^nuedNo2e.BMlrilrtco.M^ Star. ASCAP)
19 LAST Him (FROM THE NUTTY PROFESSOR) (Ecal,

BMt/Keiande. ASCAP) HL

63 LUVIN' (Otna Oundsa. BMlHitco. BMI)

43 1^ ME CLEAR MY THROAT (K 00 I.ASCAP/CIR. ASCAP)
87 LETS RIDE (House R^ .BMl/Sybtesons. BMI)

57 LIVING FOR THE CITY (Jobete.ASOLP/BlackBuH.
ASCAP] WBM

93 LOVE IS ON THE WAY (FROM THE FIRST WIVES
CLUB) (Pe:. BMI/Dream Imaee IDG. BMI/Connotabon,
BMI/Wamer-Tamertane. BMlAine Bird. BMI) VY6M

86 LOVE ME FOR FREE (Gina Diner. ASCAP/CtfUass.
BMI/Jumping Bean. BMI)

98 LOVER'S GROOVE (Zomba.BMI/Kookman. BMI) WBM
84 LOVE YOU SO (Justin Combs. ASCAP/EMI April.

ASCAP/Amani. ASCAP/Kevin Wales, ASCAP)

34 LUCHINI AKA (THIS IS IT) (Protoons, ASCtf>/ShMia
Doll. A^P/^bn Soirthers. AS(jAP/^y/ATV Tones
UC. ASCAP/BIggie. BMI) HI
$7 THEMC(Zomba.ASCAP/BOP.ASCAP/Degeraneed
Funk. ASCAP)

30 MISSINGYOU(FROMS£TITOFF)IBany'sMNocles.

ASCAP/FHAGryn. ASCAP/Onsha. ASCAP/Vfi, ASCJT) mm.
80 MORE TO LOVE (Oynatone.MlWamer-Tameriane.
BMI) WBM

69 MBICMJ9(ESIlKH)(»(Lfi Fata ASCAP/EMM ASCAP)
$1 MY BABY MAMA (Hot Sauce. ASCAP/BeaneTite. ASCAP)
50 NEVER LEAVE ME ALONE (Nate (W8MI/Su«e,

ASCAP/Antisia. ASCAP/WB. ASCAP) TOM

45 NEVER MISS THE WATER (Bahama Rhythm.
AS(^/Mu^uitEerverij B.V. BUMA, ASCAP/tn^ong.
ASCAP/Warner ChappeK. PRSTO. ASCAP) WBM

71 NEW WORLD ORDER (Mayfield. BMI/laBrian,
BMURaimundo Thomas. AsCAP)

94 NO8O(WELSEIPc4:0(UKLASCAP/l2&UidEr.8M»u^
Beaa BMM/s Jatns. ASCAP/SWn U WdL ASCAP)

8 NOBODY (Keith Sweat ASCAP/WB. ASCAP/E/A,
ASCAP/Scottsvilie. BMI/EMI Blackwood. BMI) Kl/WBM

17 NOOH»ITY(Dorri.ASCAP/ZoritaASCAP>Oi^^
ASCAP/Bmeiun' Sounds. ASCAP/Qie«ipea ASCif/SitX
EMbSoyAW Tims lie ASCAP/iSB.

24 NOTHIir BUT THE CAVI HIT (FROM RHYME t REA-
SON) (Real N Rutf. ASCAP/Suse. ASCAP/Emoni's.
ASCAP/Hieh Pnest. BMI/Ensign. BMI) HL

13 NO TIME lUndeas. BMlAVamer-Tamerlane. BMI/EMI
April. ^I^ynatone. ^t^nichappell. BM|/justm
Combs. ASCAP/Amani. ASCAP) HL/W8M
52 ONLY LOVE (Al’s Street. ASCAP/Wamer Chappell.
ASCAP/Salondra. ASCAP/Abno. ASCAP/On* Ole Ghetto
Hoi. ASCAP/Reermo. ASCAP) WBM

37 ONLY YOU Uustin Combs. ASCAP/EMI April.
ASCAP/Amsm. ASCAP/Kevm Wales. ASCAP/Sounds
From The Soul. ASCAP/Longitude. BMI) Ht/WBM

2 ONtON(OrvmePunp.ASC^/Tnbe$OIKedar.

ASCAP/BMG. ASCAP/McNooter. ASCAP) WBM
IS PONY (Papah.ASCAP/Virginia Beach. ASCAP/WB.

ASCAP/Herbilioous. A^P) WBM
77 RCTURNOFTHEMACK(GEMA)

89 THE RHYME (Zomba.ASCAP/llliotic.ASCAP/Ericfc
Sermon, ASCAP/Amarement. Ml) WW

64 RUNHIN'IEMIApnI.ASCAP/BeeMoEasy.
ASCAP/Jusbn Combs. ASCAP/^ Poppa. ASCAP)

70 SITTIN' ON TOP OF THE WORLD (So So Del.
ASCAP/tMl April. ASCAP/Air Control. ASCAP/Jobete.
ASCAP/Oa Brat ASCAP) HL

97 SLOW JAM (Warner-Tamertane. BMI/Epc. BMl/Solar.
BMl/Mxj Star, BMlSotry/ATV UC. BMt^r. BMl/Mister
Johnson's iatns. BMl/Splash Down, BMI) WW
82 SMILE (EMI April. AS(^/C0G. ASCAP)

62 THE SOUND OF MY TEiUiS (Human Rhythm.

BMI/Chrysalis. ASCAPAoung Legends. ASCAP) WBM
59 SPACE /AM (FROM SPACE JAM) (OuadraSound,
BMWamet Chappell. BMI) WBM

^illbcxird

FEBRUARY 1, 1997

Hot R&B Singles Sales

Compiled from a national sub-sample of POS (point of sale) equipped key R&B retail stores which report number
cH units sold to SoundScan, Inc. This data is used in the Hot R&B Singles chart ^ ^

^ SoufxtScen^

lllllii

1 LAST WEEK |

TITLE

ARTIST (LAfiEUPROMOnON LABEL)

★ ★ NO. 1 ★ *

CANT NOBODY HOLD ME DOWN
PLFf Decor FSa MCOfitDBXMSTA- , 1

I BELIEVE 1 CAN FLY

R. KELLY (WARNER SUNSET/ATLAHT)C/J(VE)

ON&ON

ERYKAH 8ADU (KEDAFVUNIVERSALI

IN MY BED

ORU HIU (ISLAND)

1 BQC\C N TOU . . ^CMBCDY eiGCSt . . .
WHITNEY HOUSTON (ARISTA)

COLO ROCK A PARTY

MC LYTE (EASTWEST/EEG)

DONT LET GO (LOVE)

EN VOGUE (EASrwEST/EEGl

UN-BREAK MY HEART

TONI BRAXTON (LAFACE/ARISTA)

TEARS

THE ISLEY BROTHERS O-NECKriSLANO)

NOBODY

KEITH SVSCAi FEAT.ADCNACAGEiaEKTnKBS

NO TIME

ll'kaJfEAr

—

EVERYTIME 1 CLOSE MY EYES

BABYFACE (EPIC)

NOTHIN' BLTT THE CAVI HIT

Mio< io&TmooQGFO.N)OBuzTcrefRixrrri

rM snu. M .. /fOU DONT HAVE TO .. .

NEW EDITICN (MCA)

LUCHINI AKA (THIS IS IT)
CAMP LO (PROFILEI

DA' DIP

FREAK NASTY (HARD HOOCVPOWER/TRIAD)

1 CAN MAKE rr BETTER

LUTHER VANOROSS IIV/EPIC)

ITS YOUR BODY

GU FEAT. ROGER TRXmiPN (MOTCVPd

WHAT THEY DO

THE ROOTS (OGC/GEFFEN)

STEELO

702 (BIV lO/MOTOWN)

SUGAR HONEY ICE TEA

GOODFELLAZ (AVATARffKXYOOR/A&M)

LAST NIGHT

AZ YET (LAFACE/ARISTA)

WHAT KIND OF I4AN WOULD 1 BE

MINT CONDITION IP£RSPECT(VE/A&M)

GET UP

LOST BOY2 (UNIVERSAU

AINT NOBODY

LL COOL J (GEFFEN)

COME SEE ME

112 (BAD BOY/ARISTA)

NEVER LEAVE ME ALONE

wTE 0 rr, fiAi SNXP axar extr. ideaih row

TELL ME

ORU HILL (ISLAND)

THIS IS FOR THE LOVER IN YOU

BABYFACE (EPIC)

—

TtVeSU. NQSl CMMSfWFfBS BML

E-40 FEAT. BO'ROCK (SICK WID' IT/JIVE)

LET ME CLEAR MY THROAT

DJ KOOL (CLR/AMERICAN/iVARNER BROS >

NCCKSJCOFMYFSlMXJSCUDmDW

OONELL JONES (LAP ACf/AHISTA)

FALLING

MONTELL JORDAN (OEF JAM/MERCURY)

NODIGGITY

BIACKSTREET (FEAT. DR. ORE) (INTEftSCOPO

YOU DONT HAVE TO LOVE ME

F40NIFAH ■' ■PTOV<-'l .JMVfRSAli

STREET DREAMS

NAS (COLUMBIA)

ATLIENS/WHKLZ OF STEEL

OUTKAST (UtfACE/ARlSTA)

TITLE

ARTIST (LABEUPROMOTION LABEU

HOW COULD YOU

KO& JOJOOF jccea SOJNDTIUOGMCA)

ITS AU ABOUT U

SWV (RCA)

MISSING YOU

BRWCiY. TMW. G mCHT& C KHkN (EASTWeST)

BOW DOWN

ViESISIDE OONNECnON (LENCH M06PRIORITV)

RUNNIN'

3%IOinXSBlGReCDC)WtOQA£SnEXHAeE^

PONY

GINUWINE (5SO MUSIC/EPIC)

MY BABY MAMA

QT (ROWOY/ARISfA)

SPACE JJkM

cuAD arv D/s ibig beatwarner sunset)

THEMC
KRS-ONE (JIVE)

THE THINGS THAT YOU DO

GINA THOMPSON (MERCURY)

FLOATIN’ ON YOUR LOVE

TkCaEYBFOTVeSFEAT./NGQAWrejEHCrjead

FLY LIKE AN EAGLE

SEAL l/TI WARMER SUNSET/ATIANTIC)

POPIMP

DOCR 0€ (FEAT. TWSTA) (RAPALOTNDOTRlBO

HOW DO U WJtNT rTAMJPORNIA LOVE

2WC<FEAT KC&jQjQISEATHRIMMTERSOCfO

JUST WANNA PLEASE U

ktONA LISA(ISUUrO)

THE SOUND OF MY TEARS

DEBORAH OOX (ARISTA)

IF YOUR GIRL ONLY KNEW

AALIYAH (BLACKGROUNO/ATLANTK)

WHATEVA MAN
REDMAN (DEF JAM/MERCURY)

IN YOUR WILDEST DREAMS

T)NA TURNER FEAT BARRY WXaE (VIRGIN)

LETS RIDE

lOCRCHQeN/rOHUSaiSlOCffJiMKeClAn

NEVER MISS THE WATER
(>W(KJmrfERT kCDGUCSSmiOfenSkB

VWEN BOY hCETS . . YOU THN< . . .

TOTAL (BAD BOY/ARISTA)

YOU COULD BE MY BOO

T)C AtMQriY RSO FEAT. F/VIH EVWC (R/W>AUCIT>

SUKI SUKI NOW

DJ. TRANS (ATTITUOEI

MUSIC MAKES ME HIGH

LOST BOY2 (UNIVERSAL)

THE FOUNDATION
X2IBIT (LOUD)

BEFORE 1 LAY (YOU DRIVE ME CRAZY)

CECE PENISTON (P&M)

SPIRITUAL THANG
ERIC BENET (WARNER BROS )

BOHEMIAN RHAPSODY

THE BRAIDS iB'C BFAT ATLANTlC)

CYPHER^ PMtT 3

FRANKIE (KjTLASS (VtOLATOJVRELATtvrTY)

LEAVIN’

THE TONY RICH PROJECT (LAFACE/ARISTA)

SITTIN’ ON TOP OF THE WORLD

DA BRAT (SO SO OEF/COLUM8IA)

LOUNGIN

LL COOL J (DEF JAAVMERCURY)

YOUR SECRET LOVE
LUTHER VANOROSS (LV/CPIO

STRESSED OUT
A TRIBE CAUEO QUEST UIVE)

ASCENSION (DON'T EVER WONDER)

MAXWELL (COLUMBIAI

ONLY YOU

1 12FEAT. n(£ NCnOflOUSBia {BJOBTiWaSTA)

LOVE ME FOR FREE

AKINYEIE (ZOCkVOLCANO)

CD Records wihi the greatest sales gains. C 1997 BillboardfBFN Communications and SoundScan, lr>c.

51 SPIRITUAL THANG (India 6.. BMI/Putty Tat
BMI/Parathse Forever, BMI/Demontes.oMI)

99 STAY WITH ME (Zomba.BMIAIorace Brown.

SMi/Rodney Jerkins. BMVEMI Blackwood. BMI) WBM
21 STEELO (Back 2 Da Getto. ASCAP/Mass Confusion.
ASCAP/WB. ASCAP/B-Rat ASCAP/Blue Turtle.
ASCAP/AJmo. ASCAP/Polygram Int'l. ASCAP) HL/YffiM
31 STREET DREAMS (O' N'jCpRS/BMG.PRS/BMG.
ASCAP/Carm-BJ4G. BMI/JumpineBean. Bf^2And
Undtf , Jams. AXAP^ U WNI. ASCAP) HL

81 STRESSED OUT (Zomba. ASCAP/Jan Merchant.
ASCAP/Get Ya Frog On. BMI/EMI Virgin, BMt/Moming
Crew. BMI) WBM

39 SUGAR HONEY ICE TEA (Arvermal. ASCAP/EMI Apni.

ASCAPAeoSun. ASCAP/Pecot. ASCAP) HL
90 sun SUN NOW (Not listed)

12 TEARS (Sony/ATV UC. BMI/Ecaf, BMI) HL
18 TEU ME (FROM EDDIE) (Stan Brown. BMI/M Double.
BMl/Alley Gadfly. BMI)

74 THArSHOWITIS(irSUKEraAT)(FunlnNoble.
ASCAP/Hil & Hold. ASCAP/Zomba. ASCAP/Erich
Sermon. ASCAP/CoIgnns-EMI. ASCAP/Mentronn
D^l. ASCAP) WBM

26 THiNGS'U NEVER CHANGE/RAPPER'S BAU(W6.
ASCAP/Zappa. ASCAP/Zomba. BMUE-Forty, BMI/Srand.
BMI/Badass. ASCAP/LBN. ASCAP/^pherdeff. ASCAP)

28 THIS IS FOR THE LOVER IN YOU (MATV LLC.
BMI/^c, BMl/Solar, BMIWB. ASOU^/UA.

AS W/Make It Big. ASCAP/Portrart-Solai.

ASCAP/SUver Sounds. ASCAP) HL
49 TWISTED (Kmth Sweat ASCAP/E/A. ASCAP/WB.
ASCAP/Deep Sound, ASCAP/Shorl DoHs. BMl/Zbmba,
ASCAP) WBM

7 UN-BREAK MY HEART (Realsongs. ASCAP) WBM

27 WATCH ME DO MY THING (FROM AU THAT) (Zomba.
MUHookman. SMl/Fe-Mac. ASCAP)

56 WHATEVA MAN (Enck Sermon, ASCAP/Zomba,
ASCAP/Funky Noble. ASCAP)

9 WHAT KIND OF MAN WOULD I BE (Mint Factory,
ASCAP/EMI April. ASCAP) HL

96 WHAT'S LOVE GOT TO DO WITH IT (FROM SUPER-
COP) (WB. ASCAP/Good Single. PRS/Rondor,
London/World. BMI/trving. BMI) WBM
60 WHAFS ON TONIGHT ^hrysafcs.ASCAP/Mo'Swac&
ASCAP/Sv^ Mob. ASCAP/MI PM. ASCAP/^ ASCAP)
29 YVHATTHEVMCamsaiCEM^NmeM^^
BMToiyTaiiTanaASCJiAFtjiammASOm
58 WHEN BOY MEnSGIRUDO YOU THINK ABOUT US
arey III. BMl/T.Lucus. ASCAP/The Waters Of NazMath.
8M1/Str8 From The Bottom, ASCAP/Xevw Wales,
ASCAP/Justin Combs. ASW/EMI Apm. ASCAP/Total's
Thing. ASCAP) HL

95 WHO IS HE AND WHAT IS HE TO YOU (Interior. BMI)
73 niE WORLD IS MINE (FROM DANGEROUS GROUND)
(Gar^ta Boogie. ASCAP/WB. ASCAP)

76 V0UroULDBEMYB00(Catlj()uo(.ASCAP/6igT-
Rock. BMI)

38 YOU DONT HAVE TO LOVE ME (EMI April, ASCAP/Soul
On Soul. ASCAP/Evelie. ASCAP) HL
72 YOU GOT ME COIN' (MCA. ASCAP/Petrol Lane,
ASCAP/Flava I4e D'EMra. ASCAP/Tim (^rmon,
ASCAP/Gorden Cam^. ASCAP/EMI Blackwood,
ASCAP/Mega. ASCA^^ney Jerkms. BMI)

32 YOU'RE MAKIN' ME HIGH/LET IT FLOW (1996 Groove
78. ASCAP/Almo. ASCAP/Ecal. BMI/Sony/ATV Songs.
BMI) HUWBM

42 YOUR SECRET LOVE (EMI April. ASCAPAJncle
Ronnie's, ASCAP/Chiysalis. BMI/Vertelney. BMI)
HL/WBM

48 YOU WIU RISE (Sony/ATV LLC.6MUSony. ASCAP/
Mona FknL ASCAP/EcApsedeck. ASCAP/CapnJdr.
ASCAP/Jirop, BMI/Eka's Voce. ASCAP)

BILLBOARD FEBRUARY 1. 1997

Movin ON & ON: Armed with a 54% increase in audience impressions,
“On & On” by Krykah Badu (Kedar/Universal) rockets 7-2 on Hot R&B
Singles with new airplay from nine monitored stations. Badu’s chart points
show an even balance between sales and airplay; the song’s performance at
R&B core stores moves the track 4-3 on Hot R&B Singles Sales, with an 8%
increase.

Cant hold IT: Puff Daddy (Featuring Mase)*s “Can’t Nobody Hold
Me Down” (Bad Boy/Arista) gets top honors among R&B fans, as the track
leaps 9-1 on Hot R&B Singles Sales. Based on its strong retail performance,
with an increase of more than 94% this week, the tune m6ves up 14-6 on Hot
R&B Singles. The song is also receiving solid airplay, with four new moni-
tored stations coming to the party this week. Altogether, the song draws 13
million listeners on 63 monitored stations.

F ACE VALUE: Babyface’s “Everytime I Close My Eyes” (Epic) makes a
splash on Hut R&B Singles as it snags Hot Shot Debut at No. 14. A strong
showing at core stores places the track at No. 12 on Hot R&B Singles Sales,
while the radio base, now topping 15 million listeners, continues to build.

Born AGAIN: Originally released on the Baltimore-based independent
CLR Records, “Let Me Clear My Throat” by DJ Kool spent 20 weefe on Hot
R&B Singles and peaked at No. 46 before being moved to recurrent in
August 1996. Billboard’s policy for the Hot R&B Singles and Hot 100 Sin-
gles charts is that a title is mov’ed from active to recurrent status if it spends
more than 20 weeks on the chart and is below No. 50. However, in those rare
cases when a recurrent eai*ns enough points to enter the top 50, it is allowed
to re-enter. American has picked up the single, which is also being worked
by Warner Bros., and it re-debuts at No. 43. The song will continue to chart,
provided it maintains a rank of 50 or higher.

Twelve INCHERS: Sewral songs on Hot R&B Singles are making big
moves despite being availat^e only on 12-inch %inyl. Redman’s “Whateva
Man” (Def Jam/Mercury) moves 79-56 after debuting a week early due to
street-date violations; it also debuts at No. 56 on Hot R&B Singles Sales.
Montell Jordan’s “What’s On Tonight” pops in at No. 60 with an audience
increase of more than 240%, picking up airplay on 13 additional stations.
KRS-One’s ode to his rapping skills, “The M(5,” debuts at No. 67 on Hot
R&B Singles, while landing at No. 17 on Hot Rap Singles. Lastly, English-
man Mark Morrison’s “Return Of The Mack” (Atlantic) moves 82-77 after
picking up new airplay fi*om 11 monitored stations.

Off and RUNNIN': Originally recorded for the “One Million Strong”
album, which paid tribute to the Million Man March in October 1995, “Run-
nin’ ” (Mergela/Solar/Hines) features 2Pac, the Notorious B.I.G., Radio,
Dramacydal & Stretch, all of whom were once friends. Since the track was
cut, two of those rappers, 2Pac and Stretch, were murdered — ironic con-
sidering that the purpose of the recording was to promote a day of unity
and atonement. The song was released after both rappers died, spurred
especially by interest in 2Pac’s passing. On Hot R&B Singles, a 60% sales
increase spurs the track 83-64, while moving 51-42 on Hot R&B Singles
Sales. On Hot Rap Singled, the song jumps 18-15.

BUBBLING UNBEB S

1 LAST WEEK I

TITLE

ARTIST (LABELTPROMOTION LABEL)

RUFF RIDE

FfiA2E (BEFOBE OAWNaOUCHWOOb)

DO YOU LOVE ME

BENITO (FULLY LOADED)

YARDCORE

0CAH NUIERICANS (DEliCNXIS VIKYLRED ANT)

BACK OF THE CLUB PART 2

OTR CLIQUE (ALL NET)

LISTCN 2 Ml FLOW
VILLAIN (STR8 GAME.'MBM)

TEAR DA CLUB UP

THREE 6 MAFIA (BRUTAL/PRlORlTY)

LONELY AT THE TOP

PARLAY (FULLY LOADED)

THAT’S RIGHT

OJ TAZ FEAT RAHEEM THE DREAM (SUCCESS)

WAITING FOR A GIRL LIKE YOU

4U (RIP-IT)

PIECE OF CLAY

MARVIN GAVE (REPRISEAVARNER BROS.)

EVERYDAY

THA TRUTH (PRIORITY)

DO G'S GET TO GO TO HEAVEN?

RO*C RCH XW(LMCHIIS4’.S:QCEF WAUinCLRYi

EVERYBODY'S TALKIN'

Al TARKJ (KOOl FASH) (CORRECT)

TITLE

ARTIST (LABEUPflOMOTlON LABEL)

RISE

SANDRA ST VICTOR (WARNER BROS.)

HOW YA WANT IT (1 GOT IT)

XHSl SROUERSiGU SIREit SLMP PNACVlSlMO)

WORD IZ UFE

POOR RKSHTEOUS TEACHERS (PROFILE)

BOUNCE TA DIS

eX>UtU« MAXUSECSEWlAlEXWSTRfETPfnOO

PHENOMENON

ONE AND ONE (NEXT PLATEAU)

EMOTIONS

TWISTA (CREATORS WAY)

SUMMBt MADNESS

JERALD OAfMVON (GRP)

INDESTRUCTIBLE

REtGN (H.O.L A.>1$LAND)

MASTA PLAN

(HE LOST TRY8E OF HIAKIP Oa£)«M)e.KM>mG BUID

MY KINDA N*GGA

HEATHER B. FEAT. M O R (PENOULUAVEMI)

SEX

GRAY (CORRECT)

MACK DADDY

DISCO AND THE CITY BOTE (KRUNCH/R(P-(T)

Bubbling Under lists the lop 25 singles under No. 100
which have nol yet charted.

R&B

WARREN G

(Coniiniiedfrom page 21)

international single and is being
released internationally Feb. 3.

A double-sided 12-inch single — fea-
turing “I Shot The Sheriff,” with G-
Dub and Erick Sermon remixes and
instrumentals, along with “What We
Go Through”— will be released in the
US. Feb. 11.

“ ‘What We Go Through’ is a buzz
record,” says Belgra\^. “We want it to
start popping up on mix tapes and mix
shows, get a little play in the clubs. ‘I
Shot The Sheriff’ is going to be the first
video because it will appeal to every-
body.”

The clip for “I Shot The Sheriff,”
which features a western-themed
motif, premiered on MTV Europe Jan.
14; It’s slated for US. release on Tues-
day (28). No international plans have
been set to service the “What We Go
Through” clip; however, it will be ser-
\iced domestically two weeks after “I
Shot The Sheriff.”

Whereas “I Shot The Sheriff” is a
concept-driven clip, “What We Go
Through” is a basic j)erformance video
that was partly shot in a KKBT Los
Angeles D.I booth.

“It’s a great cross-promotion with a
radio station in his home market, which
is also the second biggest in the coun-
try,” says Belgrave.

The international leg of WaiTen G’s
promotional tour is scheduled to begin
Monday (27) and includes stops in the
UK., France, and Italy. The U.S. pro-
motion machine will begin March 6.

G Funk Music is initiating a school
promotion that includes servicing 1,000
innei*-city school libraries with a clean
version of “Take A Look Over Your
Shoulder (Reality).” The grand prize-
winning school will receive a computer.

In another promotion, free Warren
G sampler cassettes will be offered to
consumers purchasing Montell Jordan’s
“What’s On Tonight” and Foxy Bro\\m’s
“I’ll Be” singles in the U.S.

Warren G is also scheduled to per-
form for music retailers at this year’s
National Assn, of Recording Merchan-
disers conwntion, to be held in Mai'ch
in Orlando, Fla., as part of the PGD
Zone showcase.

PIONEER EXECS

(Contmued from page 21)

cxecutirc, who now works as a business
consultant, says that there is greater
resistance on the part of today’s white
label heads to release the reins of
power to black executive division
heads.

“There needs to be more [white]
executives like Bruce Lundvall, Clive
Davis, and Ron Alexenburg, who were
willing to give black execs a chance to
succeed,” Tyrrell says. “Everyone is
looking for a point of access, but not
very many real opportunities present
themselves.”

Although Harewood entered the
industry as an A&M college rep in the
’70s,- after most black music depart-
ments were established, he also de-
scribes the business climate then as
more favorable for black executives
than today.

“Back then, there was no adv’ersari-
al relationships with pop departments,
at least at A&M. Everybody was just
trying to win. Now it’s become very
territorial.”

Epic black music senior VP Ray
(Continued on page W

3 iHboord)t February i, 1997

iai

p Singles.

THIS

WEEK

LAST

WEEK

2 WKS
AGO

WKS. ON
CHART

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE SALES REPORTS
COLLECTED. COMPILED. AND PROVIDED BY SOUndScaP*

TITLE lllllll artist

LABEL & NUMBERrt)ISTRIBUTlNG LABEL ■ ■ ■ ■ ■

* ★ ★ No, 1 /Greatest Gainer ★ * *

CAN’T NOBODY HOLD ME DOWN ♦ PUFF DADDY (FEAT. MASE)'
(C (D) SAD BOY 790ea'ARISTA 1 vmA at No. 1

COLD ROCK A PARTY ♦ MC LYTE

NO TIME ♦ LIL KIM FEATURING PUFF DADDY

MTHiN' BUT THCllAVIHg (FROM IlHYMEtREASONl ♦MACK 10 & THA DOGG POUND

LUCHINI AKA (THIS IS IT) ♦ CAMP LO

(C)(TiPROflUM58

DA’ DIP FREAK NASTY

WHAT THEY DO ♦ THE ROOTS

lOiUKDOGC :9407JGEFFEN

GET UP ♦LOSTBOY2

lOi.D) m UNIVERSAL 86032

AINT NOeOOY (FROM -BEAVIS AND BUH-HEAD DO AMERICA") ♦ LL COOL J
(C) m GEFFEN 19410

NEWP

THINGS’lL NEVER CHANGE/RAPPER'S BALL ♦ E-40 FEATURING BO-ROCK

• (C:(DiSICKW]D'IT 42435.JtVL

LET ME CLEAR MY THROAT DJ KOOL

STREET DREAMS • ♦NAS

(C; (01 <M) J) 00 COLUMBIA 76409

ATLIENS/WHEELZ OF STEEL ♦ OUTKAST

10 (01 .T; LAFACE 24196'ARISTA

BOW DOWN ♦ WESTSIDE CONNECTION

ic: lb) <T) LENCM MOB 53227/?R(OR1TY

(ID

RUNNIN’ 2PAC, NOTORIOUS B.I.G., RADIO, DRAMACYDAL & STRETCH

SPACE JAM (FROM “SPACE JAM") QUAD CITY DJ’S

(0 (0) (T) 00 BIG BEAT, WARNER SUNSET 870ia AG

NEWP

THE MC KRS-ONE

[Tl JIVE 42425'

PO PIMP • ♦ DO OR DIE (FEATURING TWISTA)

ic; (0) RAP-A LOT/NOO TRYBE 38559VIRCIN

HOW DO U WANT IT/CALIFORNIA LOVE ♦ 2PAC (FEAT. KC & JOJO)

WHATEVA MAN ♦REDMAN

tTI CEF JAM 574027', iWERCURY

LET’S RIDE ♦RICHIE RICH

iC) (Dl <T) OAKLAND HILLS AISIGDEF JAM 575774;MERCURr

YOU COULD BE MY BOO ♦ THE ALMIGHTY RSO FEAT. FAITH EVANS
(C) (D) RAP-ALOT/TiOO TRYBE 36571/VtRGlN

SUKI SUKI NOW D.J. TRANS

IC.'lTl(X;An(TUDE 17029

MUSIC MAKES ME HIGH ♦ LOST 80Y2

THE FOUNDATION ♦ )(ZIBIT

(C> (Dl <T) LOUD 6470&RCA

SITTIN’ ON TOP OF THE WORLD • ♦DA BRAT

LOUNGINA ALL COOL J

IQ (01 (I) DEF JAM 575C62 MERCURY

STRESSED OUT ♦ A TRIBE CALLED QUEST FEAT. FAITH EVANS

m (X) JIVE 42420*

LOVE ME FOR FREE AKINYELE

RUFF RIDE FRAZE

WHAniMGI)TT0D0WIT8[T(FR0«‘SUPCRC0n AWADRENG FEAT ADIKA HOWARD

1C! iDilMTERSCOPE 97008

CANT KNOCK THE HUSTLE ♦ JAY-Z

:C! (M, ifiiX; tRLLZl.ROC-A-FLUA 53242, PKtCRITY

SOUL ON ICE ♦ RAS KASS

IC) (T) PRIORITY 53258

THAT'S HOW IT IS (IT’S LIKE THAT) ♦ REDMAN FEAT. K-SOLO
iTi DEF JAM 573201 ' MERCURY

SHAKE A LIL’ SOMETHIN’... ♦ THE 2 LIVE CREW

fiE-ENTRY

BACK OF THE CLUB PART 2 OTR CLIQUE

ELEVATORS (ME & YOU) • ♦ OUTKAST

tC' lui ixj ;Arxct 24177;ahista

TEAR DA CLUB UP THREE 6 MAFIA

THAT'S RIGHT OJ TAZ FEATURING RAHEEM THE DREAM

lOin (X) SUCCESS 42031

ALU SEE - ♦A-l-

■C,' (Dl (M) J; IX) K-DAft 56O01-UMVERSAL

NEWP

THE WORLD IS MINE (FROM "DANGEROUS GROUND! ♦ ICE CUBE

(Tl JIVE 42398*

GET READY HERE IT COMES (IT'S THE CHOO-CHOO) ♦ SOUTHSYDE B.O.I.Z.

RE-ENTRY

FREAK OF THE WEEK ♦ DJ POLO FEATURING RON JEREMY
<CMli(X;SMJiil0N372

RE-ENTRY

DIRTY SOUTH ♦ GOODIE MOB

laEGAL LIFE CAPONE-N-NOREAGA

NO FEAR ♦ORIGINOOGUNNCLAPPAZ

WAKE UP - ♦ KILLARMY

(Ci iDt lit WU-TAN6 5323a.-PRlORlTY

RE-ENTRY

EVERYBODY'S TALKIN’ AL TARIQ (KOOL FASH)

THE LUMP LUMP ♦ SADAT X

IC) (0) (Tl LOOD 6469aRCA

NEW^

WORD IZ LIFE ♦ POOR RIGHTEOUS TEACHERS

Records with ihe greaiest sales gain$ this week. ^Videoctip availability. #Reco[ding industry Association
of America <R1AA) certification for sales of 500,000 units. A RIAA certification for sales of I million units. Catalog
no. (S for cassette single. *Asterisk indicates catalog number is lor cassette maxi-singte; cassette sinf^ unavailable.
-(C) Cassette single availability. (0) CD single availability. (M) Cassette maxi-single availability. (T) Vinyl maxi-sir^
availability. (V) Vinyl single availability. (X) CO maxi-single availability. 6 1997. BiilboartVBPI Communications,
and SoundScan, Inc.

BItXBOARO FEBRUARY 1 , 1 997

■ Copyrighted

Dance

ARTISTS & MUSIC

Bjork Mixes It Up With Past Cuts On ‘Telegram’

Bjork lets out a soft and

^ood-natured giggle as she ponders
her unusually avid desire to relin-
quish control of her music to the
deconstructing interpretations of
others. “I’m not a greedy bastard —
despite what my mates might say.”
Settling into the topic more seri-
ously, she takes a deep breath and
pauses to properly consider the
idea. “I find that I frequently crave
the experience of making a song
perfect from my point of view, and
then being humbled by simply being
material on someone’s mixing
desk,” she says. It was that craving
that lead to “Telegram,” an Elektra
collection largely consisting of
remixed moments from the previ-
ous Bjork sets “Debut” and “Post”
— save for the glorious new compo-

BJORK

sition “My Spine,” on which she col-
laborated with noted British per-
cussionist Evelyn Glennie.

But this project is not a mere
exercise in accelerating familiar
jams into house and hi-NRG an-
thems for broader audience con-
sumption. In fact, “Telegram” aims
to deepen its songs by rejecting the
constrictive boundaries of any spe-
cific genre and injecting variations
on pop, dance, classical, and jazz
music. To complete that task, Bjork
enlisted a virtual army of renowned
experimentalists that includes
Mark Bell, Eumir Deodato, Gra-
ham Massey, and Dillinja, surren-
dering her melodies and allowing
them to be woven into jarring and
often dissonant drum’n’bass
rhythms as she alters her vocal
phrasing in a series of stunning
new performances.

“In approaching the direction of
this album, it was ultimately a ques-
tion of trust,” she says. “At the end
of it all, 1 felt liberated and honored
by the results. I would never ask
anyone without a brave, yet tender
and responsible, soul to touch my
songs.”

Bjork first embraced the concept
of remixing when she left her native
Iceland for London four years ago
and instantly fell into the local
underground club scene. “To out-
siders, remixing is regarded most-
ly as recycled trash or a commercial
sell-out,” she says. “But once I
examined the creativity and exper-
imentation that goes into the
process, I could see how a remix

by Larry Flick

gives a song so many musical
options. When I recorded my first
solo album [‘Debut’], I couldn’t wait
to see how people I respected from
the clubs would take each song
apart and put it back together.”

She went one step further with
her 1995 set, “Post,” factoring in
possible remix choices as she wrote
many of its songs. “I would also
work on two or three versions of a
song at the same time,” she says. “I
was fascinated by the idea of
putting together a 12-inch record
that illustrated the song in a vari-
ety of lights and textures.”

With “Telegram” taking that
point to its ultimate creative con-
clusion, Bjork has already moved on
to her next project — an album that
she is currently recording in Spain.
“It’s the first one I’m producing
myself,” she says, her voice brim-
ming with excitement as she falls
into a tangent about its lush string
arrangements. “It’s a natural
growth for me. I love working with
Nellee Hooper, who worked on my
first two albums, but no one knows
my songs better than I do. I’ve been
baby-stepping along the way, and I
finally feel like I’m ready to climb
this mountain.”

Boogie wonderland: The

wait for a taste of Mariah Carey’s
new Epic-distributed label. Crave
Records, ends with the onset of
“Head Over Heels” by female quar-
tet Allure. Produced and written
by the pop superstar with the
Trackmasters, the track chugs at
a seductive jeep/funk pace that
allows for some leisurely and oh-so-
lovely harmonies. The lead vocals
are underlined by a subtle piano
line that gives the song a haunting
texture.

Also carrying the logo of the
Trackmasters’ new eponymous
Sony label, “Head Over Heels” pre-
views Allure’s self-titled album,
which is due in April. There is no
word on an uptempo remix yet, but
we’re confident that the savvy and
always inclusive La C has some-
thing planned for clubland.

Jellybean Recordings has another
solid hit from Pulse with “Yum
Yum,” which rides on the fuel of
frontwoman Antoinette Roberson.
She makes good here on the
promise displayed on the previous
hits “Won’t Give Up My Music” and
“The Lover That You Are,” exuding
all of the dramatic flair and techni-
cal prowess needed to rise above the
competitive ranks. She also reveals
the more playful and sensual sides
of her personality. There’s a double-
pack of potent mixes to choose
from, but none are as good as the
main vocal version. Can’t wait to
hear this one on pop radio — which

is where it ultimately belongs.

Another Jellybean jam well worth
a spin or two (or more) is “Never
Felt This Way” by Fast Forward
Featuring Beverly. This one pairs
an intriguing singer with Brothers
Of Peace partners Paul Scott and
Shank Thompson. The emphases
are wisely on Beverly's blasting
notes and a hook that is downright
unshakeable. DJ Strobe comes to
the table with a remix that pops
with Euro-pop spice, which should
help juice the label and single’s
image in sectors beyond house
music.

Newcomer Suza Mogul delivers
one of the pure pop pleasures of the
week with “Make Me A Feel,” a jam
that combines a kicky hi-NRG beat
with a chorus that, upon impact, is
permanently lodged in the brain.
Joined by fellow up-and-comer
Chadd on production and harmony
vocals, Mogul purrs and vamps with
enticing sex appeal. Co-producer/
remixer Mick Hanson contributes
a percolating beat that is forceful
enough to keep dancers in motion,
though this track clearly is best
suited for radio airwaves. Look for
this cutie on New York’s M-Powered
Records.

Look for the return of Tangerine
Dream to some of the hipper
turntables in dance music with
“Mandarin Creme.” This Castle
Records single benefits from the
wonderfully atmospheric, techno-
smart tone added by the Orb. We

Singled Out Beats. Producer/
turntable artist Erick “More" Morillo,
left, was the guest DJ on MTV’s “Sin-
gled Out" during Ks recent taping at
New York’s Webster Hall nightclub. He
appears in the forthcoming final
episodes, featuring co-host Jenny
McCarthy. As the mastermind behind
Strictly Rhythm act Reel 2 Real, Morillo
continues to make promotional
appearances with rapper the Mad
Stuntman in support of the current
album, "Are You Ready For Some
More?"

Dreams in Motion. Arista artist Robert Miles, far right, takes a break from his
ongoing worldwide promotional trek to party at Kremlin in Miami Beach. His
debut disc, “Dreamland," will soon spawn a third single, "Fable." which has
been remixed by Cevin Fisher. Among the numerous club-friendly items due
from Arista in the coming weeks are Kenny G's "Havana,” as interpreted by Tony
Moran and Todd Terry, and "Insomnia,” a recent No. 1 European smash by
Faithless. Arista has also picked up the Dirty Rotten Scoundrels' edgy recon-
struction of the Coldcut/Lisa Stan^eld chestnut “People Hold On." Pictured with
Miles, from left, are Danny C., manager of dance music promotion at the label,
and club DJ David Knapp.

can only imagine what a trip it must
have been for the Orb to work on a
recording by an act that was one of
its prime early influences. The
mostly instrumental “Mandarin
Creme” cruises from ambient soft-
ness to rattling breakbeats with
notable ease, making it a natural for
the drum’n’bass generation.

If you never got enough of the
fierce Ceybil Jefferies anthems
“Praise Him (Lift Your Hands Up)”
and “It’s Gonna Be Alright," the
fine folks at Sub-Urban Records
aim to feed your hunger with a 12-
incher sporting crackling new ver-
sions of both songs by Deep Zone,
Boris Dlugosch, Mousse T., and
Michael Lange. The gospel flavor
of the original compositions re-
mains prominent at all times,
though Dlugosch, in particular, also
does an excellent job of introducing
a variety of fresh underground
sounds and percussion breaks.

Beyond the MIX: Techno/

garage renegade Laurent Gamier
has completed his second album,
tentatively titled “30,” for the Euro-
pean indie F-Communication. Due
in mid-March, the set will be pre-
viewed within the next two weeks
with the single “Crispy Bacon.”
French film director Quentin
Dupicux has assembled a 15-
minute video clip to accompany the
cut. With the electronic-dance rev-
olution about to hit a trendy stride
in the stateside pop mainstream,
we’d advise major-label A&R reps
to investigate this project pronto.
After all, why settle for a copycat
when you can have the real thing?

Pop/dance vamp Gabrielle has

cut a cover of the Dionne Warwick
evergreen “Walk On By” for U.K.
release next month by Go! Beat
Records. The single will be accom-
panied by a dancefloor-friendly
remix by Genaside II. An inspired
selection for the singer’s feline
style, this could be the jam to revive
her profile here.

Moonshine Records showcases
some of its recent singles on “Mixer
No. 1,” offering much of its materi-
al on CD for the first time. Far less
grandstanding than many of its
(Continued on next page)

FEBRUARY 1, 1997

CLUB PLAY

1. I’M ALIVE STRETCH AND VERN
PRESENT MAOOOG granoslam

2. EL CHOCLO JULIO coiumsia

3. ARE YOU THERE... WINK cwum

4. WANNABE SPICE GIRLS virgin

5. MAS GROOVE CEVIN FISHER maxi

MAXI-SINELE8 SALES

1 .

EVERY TIME I CLOSE MY EYES

BABYFACE ewc

NO ONE CAN LOVE YOU MORE
THAN ME HANNAH JONES ariola
LATIN THING UTIN THING ariola
I’M ALIVE STRETCH AND VERN
PRESENT MAODOG granoslam
(YOU ARE MY) FANTASY ACID FACTOR
F^T. MARCilE M. street beat

Breakouts: Titles with future chart potential,
based on club play or sales reported this week.

BILLBOARD FEBRUARY 1. 1997

HOT DANCE MUSIC

THIS

WEEK

LAST

WEEK

2 WKS
AGO

WKS. ON
CHART

CLUB PLAY

COMPILED FROM A NATIONAL SAMPLE
OF DANCE CLUB PLAYLISTS.

TITLE ARTIST

LABEL & NUMBERfPPOMOTlON LABEL

★ * * No. 1 ★ *

THE BOSS ATLANTIC 85456 IwecKilHo. 1 THE BRAXTONS

GET UP NERVOUS 20254

♦ BYRON STINGILY

(3)

NEVER Miss THE WATER REPRISE 43767 ♦ CHAKA KHAN FEAT. ME’SHELL NDEGEOCELLO

(4)

ULTRA FLAVA DVS 120107/A&M

HELLER & FARLEY PROJECT

(5)

OOH AAH.. JUST A LITTLE BIT ETERNAL 43802AVARNER BROS. ♦ GINA G

(6)

COLOUR OF LOVE TOMMY BOY 748

AMBER

(7)

BACK TOGETHER KING STREET 1053

URBAN SOUL FEAT. SANDY B.

NO ONE CAN LOVE YOU MORE THAN ME ARIOLA 45169

HANNAH JONES

LIVING IN ECSTASY WAVE 5001 1

FONDA RAE

BLUE SKIES PERFECTCVKtNETIC PROMCVREPRISE

♦ BT FEATURING TORI AMOS

PARADISE IS HERE REPRISE 43759

CHER

niy

COSMIC GIRL WORK 78501

♦ JAMIROQUAI

UN-BREAK MY HEART LAFACE 24213/ARtSTA

♦ TONI BRAXTON

H4T

SOUL TO BARE ElGHTeALLB3

JOI CARDWELL

(15)

SET ME FREE JELLYBEAN 2518

DEEP 6

(16)

DONT CRY FOR ME ARGENTINA WARNER 8ROS. PROMO

♦ MADONNA

(17)

HIGHER EPIC 78476

GLORIA ESTEFAN

DE LA CASA MOONSHINE MUSIC 88432

E.K.O.

(19)

SAY.. .IF YOU FEEL ALRIGHT MERCURY PROMO

CRYSTAL WATERS

(20)

STEP BY STEP ARISTA PROMO

WHITNEY HOUSTON

ANGEL EASTWEST 6399GEEG

♦ SIMPLY RED

*** Greatest Gainer * * *

RUNAWAY GIANT STEP/BIUE THUMB 3094.'GRP ♦ NUYORICAN SOUL FEATURING INDIA

DON'T STOP MOVIN' MCA 55301

LIVIN' JOY

LUNATIX MOONSHINE MUSIC 68435

OOC MARTIN PRESENTS BLAKDOKTOR

REPORT TO THE FLOOR JEUYBEAN 2516

INNER SOUL FEATURING SONYA ROGERS

LET THE BEAT HIT ‘EM COLISEUM IMPORT/PWL

SHERYL JAY

ONLY 4 U CAJUAL 252

CAJMERE

HoT

—

INSOMNIA ARISTA 13306

♦ FAITHLESS

(29)

PUMPIN' KO.L.A 341009/ISlAND

♦ PROYECTO UNO

MOMENTS... STRICTLY RHYTHM 12489

NOISE MAKER

SAY YEAH JELLYBEAN 2519

STROBE PRESENTS LA CASA GRANDE

YOU CAN DO IT (BABY) GlAJ^ STEP/BUIE THUMB 3093CRP

NUYORICAN SOUL FEAT. GEORGE BENSON

HE'S ON THE PHONE MCA SS268

SAINT ETIENNE

LA HABANERA URBAN IMPORT

HANDS ON YELLO

LOVE COMMANDMENTS WAAKO 1244

GISELE JACKSON

SUGAR IS SWEETER FFRRAONDON 120102/lSlAND

♦ C.J. BOLLAND

INDESTRUCTIBLE K.O.L.A 341007/lSlAND

♦ REIGN

(39)

IT'S JUST ANOTHER GROOVE SM:)E 90S5)PR0FIL£

THE MIGHTY DUB KATZ

LET FREEDOM RING SVENGALI 96091

PRETTY POISON

BECAUSE YOU LOVED ME ARK)U 42945

SUZANN RYE

TAKE ME OVER MAXI 2049 HOUSE OF GLASS FEATURING JUDY AL6ANESE

THE GIFT DECONSTRUCTION 64721/RCA

WAY OUT WEST FEAT. MISS JOANNA LAW

TOUCH POPULAR 26035'CRITIQUE

FRANCE JOLI

(44)

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O Titles with the greatest sales or club play increases this week. ^Vkleoclip availability. Catak^ number is for wnyl maxi-single, or cassette maxi-single if vinyl is unavailable. On Sales chart: (M> Cassette maxi-single availability. (T) Vinyl maxi-single availability. (X) CD
maxi-single availability. C 1997. Billboard/BPI Communications.

DANCE TRAX

(Continued from preceding page)

competitors, the label shows how
strong its A&R muscle has gotten
over the past six months by piling
on a formidable string of hits. DJ-
turned-producer Doc Martin is
particularly impressive on the trip-
py “Blakdoktor” and “Discfunk-
tional,” while Elli Mac oozes with
mainstream potential on the peppy
house hit “Celebrate,” which is now
getting lota of deserved airplay on
Groove Radio in Los Angeles.

“Mixer No. 1” closes with “Gonna
Make It” by Stateside, aka Glas-

gow-rooted producer/composer
Steve Kerr, Moonshine’s most
recent signing. It ripples with a
fluid house bassline and a spree of
vibrant vocal snippets. It leaves the
listener wondering what goodies
are on the label’s horizon.

Speaking of compilations, Ichiban
Records offers an appetizing smat-
tering of European and stateside
hi-NRG ditties on “Instant Dance
Party.” Genre purists will cheer
about the inclusion of Vicki Shep-

Mind,” while househeads will be
lured to the fold by “I Don’t Know
Why” by Cache Featuring
Michelle Weeks. The pop power of
this set is provided by “I Used To
Love You” by Nadine Renee and
“As I Watch You Dance” and
“Slip’n’Slide” by Ichiban’s own res-
ident diva-in-waiting, Tia.

The disco revolution within the
rock community rages on with
R.E.M.’s ballsy rendition of the
Gloria Gaynor classic “I Will Sur-
vive.” But don’t bother racing to

your local record shop for a copy.
Unfortunately, the song has been
offered solely as a holiday gift to
members of the band’s fan club.
We’ve snagged a tape of the record-
ing and have to say that it’s incred-
ible. Warner Bros, would be wise to
try coercing the band to issue it as
a single — or at least as a flip-side
cut on the next single from the cur-
rent “New Adventures In Hi-Fi.”
Having a hard time getting
through the winter without a new
record by Sheena Easton? Our E-

mail hints that there are many of
you out there with this problem.
Well, minor solace can be found in
the re-release of the evergreen hit
“Modern Girl,” which sports a
springy hi-NRG beat. Issued on
MCA Japan, the track stays rela-
tively true to Denny Diante and
Clif Magness’ original production,
while injecting a cute bounce that
will render this an instant guilty
pleasure. Yeah, it’s kinda cheesy,
but you know you’re gonna race to
an import shop for a copy.

ard 8 “Love Has Changed My

30 BILLBOARD FEBRUARY 1, 1997

Copynghtsd mat?

Countr/

ARTISTS & MUSIC

Ranger Doug Rides In As Solo Act

Riders In The Sky Front Man Bows On Warner Western

IBYJIMBESSMAN

Helping Hands. Executives of the Academy of Country Music (ACM) recently
presented a check for $40,000 to the TJ. Martell Foundation, part of the pro-
ceeds from the ACM 14th annua! Bill Boyd Golf Classic. Another $40,000 went to
the Shriners Hospital for Crippled Children. Shown, from left, are ACM executive
director Fran Boyd. T.J. Martell, and ACM vice chairman Gene Weed.

NEW YORK — When the front man of
a 20-year-old recording group puts out
a solo album on a different label, it
often indicates dissatisfaction with a
stale band format, if not an impending
breakup. Fans of Rounder recording
group Riders In The Sky, however, can
rest assured: Ranger Doug, whose
debut solo album, “Songs Of The Sage,”
comes out on Warner Western March
11, is more than happy staying right
where he is, thank you.

“There’s absolutely no chance that
we’ll break up,” says one-time country
music historian Douglas 6. Green, now

Exec Moves: Goodman Exits, Dungan
Up; Reba/Brooks & Dunn Ready Tour

r EOPLE: Randy Goodman resigned Jan. 21 as senior
VP/GM of the RCA Label Group (RLG). Goodman, who has
been with the company for 15 years, wiU continue his duties
throu^ March 14, after which RLG chairman Joe Galante
will assume the GM role until a replacement is named. No
word as to Goodman’s plans, although Goodman says he
wants to explore “new challenges.” He has talked in the
past with Walt Disney Records, which is planning to launch
a Nashville label . . . Mike Dungan has been promoted to
senior VP/GM at Arista/Nashville, a new title at the label.
Formerly senior VP of sales and marketing, he will over-
see Arista/Nashville, Career Records, Arista/Latin, and
Arista/Austin. He reports to Arista/Nashville president
Tim DuBois.

Nashville

Scare

by Chet Flippo

UN the ROAD: The
country hatches continue to
be battened down as more
and more tour packages
are being consolidated
(Nashville Scene, Billboard,

Dec. 14, 1996). The Reba
McEntire/Brooks &

Dunn tour, which goes out
Feb. 28 (opening in Mem-
phis) for an 85-city run, is
a blockbuster attrition, as
the first multi-superstar
tour in recent memory. It

also may be, some industry insiders say, a de facto admis-
sion that, outside of Garth Brooks — ^who continues to sell
out every show — there is no sure draw, no magic bullet in
country music touring today. According to Billboard’s sis-
ter publication Amusement Business, 33 of McEntire’s 62
shows in 1996 were sell-outs. Brooks & Dunn played 51
shows in 1996; 13 were sell-outs. Garth Brooks played 115
dates last year; 115 sold out
Prices have not been announced for the McEntire/B&D
tour. Sponsored by Mobil 1 (the first time a petroleum com-
pany hi^ sponsored a music event), the tour will be a rolling
behemoth, with 10 buses and 18 tractor trailers hauling
more than 40 tons of equipment for a razzle-dazzle pro-
duction. The show will have no intermission, and the head-
liners will do some numbers together and trade off on clos-
ing. There will be no opening act, a practice that some
industry people say may hurt midlevel acts. McEntire’s
manager, Narvel Blackstock, says that the main consid-
eration in planning the tour without an opener was “the
consumer. They can sit through about three houre of miisic
and be thoroughly entertained. When you go past that, it
can be too much. With the number of hits Reba and Ron-
nie [Dunn] and Kix [Brooks] have, it would be cheating the
consumers if we don’t offer that. As it is, we will have a
seamless show, and the audience will never know what to
expect next. They’ll be doing many previously unrecorded

songs, in addition to the hits.”

Blackstock says that the reason for the collaboration w'as
not economic. “We feel confident about the consumer reac-
tion to this. We just felt that we needed a special event in
country music, artists who really gel and can do a m^or
tour tt^ether, not just a few dates. We’ve always tried to
find a way to get more bang for the buck for the consumer.”
In another of the strongest bills of the year, LeAnn
Rimes is opening for Alan Jackson on his current tour,
which began Jan. 24 in Dayton, Ohio . . . Ty Herndon and
George Ducas open the 1^ Wal-Mart country tour Mon-
day (27) with a date in Hazelhurst, Ga. CMT will cross-pro-
mote the tour this year and will send a video crew on the
road to shoot footage for a special on the outing. The net-
work will also send one of
its promo vehicles, along
with big video screens, to
selected concerts. Wal-
Mart plans about 260 free
concerts this year at its
stores across the U.S. by
a variety of country
artists . . . The Bellamy
Brothers are the first
country act ever to play
the South Pacific island of
New Caledonia. They also
filmed a video there for
“She’s Awesome” . . . Dia-
mond Rio plays the Sega Sports NFL Players Party Jan.
24 in New Orleans . . . Ricky Skaggs, the Whites, Jeannie
Seely, and Johnny Russell headline a Grand Ole Opry
Cruise, which departs April 6 from Fort Lauderdale, Fla,,
for a week in the Caribbean.

On the ROW: I.,eAnn Rimes* first TV special will air
on the Disney Channel on an as-yet unscheduled date in
June. “The LeAnn Rimes Music Special” will center
around a performance at Orlando, Fla.’s Walt Disney World
and include a look at her life . . . Terri Clark just taped a
cameo role in the CBS-TV series “Diagnosis Murder.”
While in California, she finally met songwriter Warren
Zevon, author of her last single, “Poor Poor Pitiful Me.”
Zevon, meanwhile, has been lauded by the Tennessee Gen-
eral Assembly on the occasion of his 50th birthday, Jan. 24.
Senate Joint Resolution 19 praised Zevon as a “great bal-
ladeer.”

Ronnie Dunn has renewed his publishing contract with
Sony/ATV Tree . . . Tickets for Fan Fair are on sale through
the Grand Ole Opry. Tickets are $90 for the June 16-21
show at the Tennessee State Fairgrounds . . . TNN is enter-
ing into production agreements with BBC2, and the first
joint venture is a 6*/4-hour country special Saturday (25) on
BBC2 (see story, page 1). That show will air on TNN in
April.

known as Ranger Doug, the longtime
Riders’ lead singer/yodeler, rhythm gui-
tarist, main songwriter, and “idol of
American youth.” “When you don’t have
hit records, you explore a lot of different
avenues to make a
^H| career work. We’ve
H done a book, radio,

H and TV shows, and

this is another page
in our career— and
a chance for me to
step out a little and
show off my song-
GHEEN writing. But it’s not

like 1 must go out
and do something on my own because I’m
so great and these guys are holding me
back!”

Indeed, Ranger’s fellow Riders —
bassist Too Slim and fiddler Woody
Paul — are his “best buddies,” he says.
“It’s simply a matter of mathematics.
We record two or three of my songs a
year, and I write four or five, so I have
a lot of songs left over in 20 years of
songwriting.”

They’re good songs, he notes. “My
one fear is that this will be portrayed
as an album of leftovers — and it’s not.
Half the songs are brand new, and the
rest haven’t l^n recorded for one rea-
son or another. And it doesn’t sound like
the Riders. Neither Warner nor
Rounder wanted that.”

“Songs Of The Sage,” then, includes
what he characterizes as “old-fash-
ioned, Sons Of The Pioneers-style cow-
boy songs” like “Where The Wild
Winds Blow” and more contemporary
uptempo cowboy ballads like “Jesse.”
“'There’s a lot of real light swing,” he
continues. “It’s not a dance swing, but
an easy-going, relaxed feel that’s not
strictly cowboy but is western — or
southwestern. Even the sad songs
aren’t big downers.”

Accordionist Joey Miskulin, who
guests with the Riders as the “Cow-
polka King,” produced. “We wanted a
distinctive feel which suits my voice and
with unusual instruments — not a ‘cow-
boy record,’ ” says Ranger Doug. “The
(Continued on page 36)

Rising Tide Corrais Support
For Buff a io dub’s Debut

■ BY DEBORAH EVANS PRICE

NASHVILLE — Using everything
from conference-room concerts to mail-
ing a herd of small plastic buffalo. Ris-
ing 'Tide Entertainment is looking to
lay a firm foundation at radio and retail
for the eponymous debut album from
the Buff^o (jlub, due March 25, which
was produced by Barry Beckett. Early
indications look good, as the single “If
She Don’t Love You” moves to No. 49 in
its third week on Billboard’s Hot Coun-
try Singles & 'Tracks chart

“It’s doing real well,” says WXBQ
Bristol, Va., PD Bill Hagy. “We get
quite a few calls, and it gets requests.”

Hagy says that the trio has a sound
that country radio has been wanting.
“It’s a nice, tight group harmony, and I
think the format has been lacking that
Restless Heart type of sound. We
haven’t had that with any regularity in
quite some time.”

If the Buffalo Club sound invites
comparisons to Restless Heart, it’s
understandable. The group comprises
longtime Restless Heart drummer John
Dittrich; lead vocalist Ron Hemby, for-
merly with Christian group the Impe-
rials; and guitarist Charlie Kelley, who
has played with Doug Stone and Tom
Wopat. Hemby and Dittrich met when
Hemby contacted him about writing for
Restless Heart. When that group dis-
banded, Hemby and Dittrich form^ the
nucleus of what would become the Buf-
falo Club and recruited Kelley.

Rising 'Tide president Ken Levitan is
excited about the project “Dan Good-
man, the band’s manager, played a tape
for [senior VP of A&R] Emory Gordy
on an airplane, and Emory came back
raving alMut this band,” he says. “We
both listened and felt like they had one
of the strongest harmony sounds that
we had heard. We signed them imme-
diately, and I’m glad we did.”

The trio’s name was initially “John-
ny Ringo.” “It just wasn’t something
that appealed to [executives at Rising
'Tide). We opted for the name change,”
Hemby says. “We wanted something
that was western sounding. So the idea
of ‘Buffalo something’ came up. A
friend in Wyoming was talking about
these clubs [that are] actually bars
from when they settled the area back
in the 1800s. The idea of a club — a
place where you could go and have
fun — sounded appealing.”

BUFFALO CLUB

Dittrich and Hemby think that coun-
try radio listeners will find the Buffalo
Club’s sound familiar. “It’s very remi-
niscent of early ’70s rock — the Eagles,
Linda Ronstadt, and that whole genre
of music — very acoustic-oriented rock,
and there are certainly some country
elements,” Hemby says.

Dittrich agrees. “It sounds a lot like
the ’70s music that came out of South-
ern California,” he says. “It’s good
music and great songs. I’ve always
believed in lyrics that paint a picture or
move you. I think country music is
unique in that area, because the lyrics
seem to be more important than the
melody, harmony, and groove.”

Kelley hopes that the group’s sound
appeals to country radio. “It’s just not
the same thing that everybody else is
doing,” he says. “It’s not cluttered with
a lot of instrumentation.”

(Continued on page 36)

BILLBOARD FEBRUARY 1. 1997

FEBRUARY 1, 1997 TBP CDUHTBY ALBUMS

COMPILED FROM A NATIONAL SAMPLE
OF RETAIL STORE AND RACK SALES
REPORTS COLLECTED, COMPILED. AND
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JERRY GARCIA & DAVID GRISMAN ACOUSTIC DISC 21 (17.98 CO) SHADY GROVE

JO DEE MESSINA CURS 77820 (10.98/15.98) ffi JO DEE MESSINA

TERRI CLARK • MERCURY NASHVILIE 526991 (10.98 £(^16.98) IS TERRI CLARK

•'ONN MICHAEL MONTGOMERY

JOHN ANDERSON BNA 6698ZmCA (10.98/16.98) GREATEST HITS

LONESTAR • BNA 66642/RCA (9.98/15.98) IS LONESTAR

WYNONNA ▲ CURB 1 1090/MCA (1D.98(16.98> REVELATIONS

ALABAMA RCA 66848(4.9819.98) SUPER HITS

NEW^

★ ★ ★ Hot Shot Debut* * *

BILL ENGVALL WARNER BROS. 46263 (10.98/16 98) HERE'S YOUR SIGN

JEFF FOXWORTHY A’ WARNER BROS. 45856 (10.98/16.98) GAMES REDNECKS PLAY

CRYSTAL BERNARD RfVER north 161207 (10.98/15.98) s THE GIRL NEXT DOOR

THE MAVERICKS • MCA 11257* (10.98/15.98) MUSIC FOR ALL OCCASIONS

LORRIE MORGAN A BNA 66508dtCA (10.98/16.98) GREATEST HITS

RICK TREVINO COLUMBIA 67452/SONY (10.98 EQ/1S.98) LEARNING AS YOU GO

(jy

RE-ENTRY

WILLIE NELSON island 524242 1 10.98(16.98> SPIRIT

NEAL MCCOY ATLANTIC 82907/AG (10.98(15.98) NEAL MCCOY

LITTLE TEXAS • WARNER BROS. 46017 (10.98/15.98) GREATEST HITS

BILLY DEAN CAPITOL NASHVILLE 30525 <10.98'15.9e) IT'S WHAT 1 DO

RE-ENTRY

MARTINA MCBRIDE • RCA 66509 (9.98/15.98) WILD ANGELS

70 1 65

CLAY WALKER A giant 24640AVARNER BROS. (10.98/15.98) HYPNOTIZE THE MOON

RE-ENTRY

S5^'i«3 THE GOOD STUFF

62 1 58

RANDY TRAVIS WARNER BROS. 46328 (10.98(16.98) FULL CIRCLE

(ID

NEW^

DERYL DODD COLUMBIA 67544 (10.98 ECY16.98) ONE RIDE IN VEGAS

OAlbums with the greatest sales gains this week. •Reconjinglndustry Assn. Of America <RIAA) certification for sales of 500,000 units. ▲ RIAA certification for sales of 1 million units, with multimillion sellers indicated by a numeral following the symbol. ‘Asterisk indicates LP is available.
Most tape prices, and CD prices for WEA and BMG labels, are suggested lists. Tape prices marked EQ. and all other CD prices, are equivalent prices, which are projected from wholesale prices. Greatest Gainer shows chart’s largest unit increase. Pacesetter indicates biggest percentage growth.
Heatseeker Impact shows albums removed from Heatseekers this week. B indicates past or present Heatseeker title. 4b 1997. BlilboardirBPl Communications, and SoundScan, Inc.

Billboard. Top Countpy Catalog Albi

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND
IQ RACK SALES REPORTS COLUCTED, COMPILED. AND PROVIDED BY Sounc/Scan®

IUtm FEBRUARY 1, 1997

THIS

WEEK

LAST

WEEK

ARTIST TITLE

LABEL & NUMBER/DISTRIBUTING LABEL (SUGGESTED UST PRICE OR EQUIVALENT FOR CASSETTE/CD)

TOTAL CHART
WEEKS

THIS

WEEK

LAST

WEEK

TOTAL OfART
WEEKS

PATSY CLINEA’ MCA 12* (7.98(12.98) 251 weeks at No. 1 12 GREATEST HfTS

513

GEORGE JONES A tPK 40776/SONY (5.98 E(V9.98) SUPER HITS

304

VINCE GILL A’ MCA 11047U0.98/15.98) WHEN LOVE FINDS YOU

137

PATSY CLINE A MCA403S(7.98/I2.98) THE PATSY CLINE STORY

130

WILLIE NELSON • Columbia 64 184/sony (5.98 ECV9.98) SUPER HITS

131

BROOKS & DUNN A^ ARISTA 18658 (9.98/15.981 BRAND NEW MAN

283

TIM MCGRAWA'CUR6 77659(9.98(t5.98) NOT A MOMENT T(X) S(X)N

148

MARY CHAPIN C:ARPENTER A^ Columbia 48881/SONY (10.98 ECVI6.98) COME ON COME ON

215

GEORGE STRAIT A' MCA 10651 (10.98/15.98) PURE COUNTRY (SOUNDTRACK)

227

THE CHARLIE DANIELS BANDA’ EPIC 38795/SONY (7.98 E(V11.98) A DECADE OF HITS

378

BRYAN WHITE A ASYLUM 61642/EEG (10.98(15.98) ■ BRYAN WHITE

GEORGE STRAIT A’ MCA 42035(7.98/12.98) GREATEST HITS, VOL. 2

484

HANK WILLIAMS, JR. A CURB 77638 (6.98/9.98) GREATEST HITS. VOL 1

141

JOHNNY CASH Columbia 66773/sony i5.98 e(w.98) SUPER HITS

CHARLIE DANIELS • EPIC 64182/SONY (5.98 E(V9.98) SUPER HITS

114

GARTH BROOKS A” CAPITOL NASHVILLE 93666 (9.98/13.96) NO FENCES

303

HANK WILLIAMS A MERCURY NASHVILLE 823293 (7.98 E(Vn.9S) 24 OF HANK WILLIAMS GREATEST HITS

126

BROOKS & DUNN A* ARISTA 18716 (10.98/15.98) HARD WORKIN' MAN

181

ALABAMA A RCA 66410 (10.98/15.96) GREATEST HITS VOL III

120

GARTH BROOKS A^ CAPTTOL NASHVILLE 98743 (10.98(16.98) THE CHASE

138

REBA MCENTIREA* MCA 1090600.98/15.98) GREATEST HITS VOLUME TWO

173

—

REBA MCENTIRE A’ MCA 10994 (10.98/15.98) READ MY MIND

129

TRACY BYRD A MCA 10991 (10.98(15.98) NO ORDINARY MAN

137

GEORGE STRAIT A’ MCA 5567- (7.98,12.98) GEORGE STRAIT'S GREATEST HITS

575

SHANIA TWAIN • MERCURY NASHVILLE 514422 (7.98 £1^1 1.98) SHANIA TWAIN

Catalog albums are older titles which are registering significant sales. 6 1997, Biliboard/8PI Communicatiorts and SoundScan. Inc.

BILLBOARD FEBRUARY 1. 1997

CopynghtM maidrial

M e d / 0

From Mindy & SNA Records

FEBRUArI^^^?^^ HOT COUNTRY

SINGLES

&TRACKS

COMPILED FROM A NATIONAL SAMPLE OF AIRPUY SUPPLIED BY
BROADCAST DATA SYSTEMS' RADIO TRACK SERVICL 162 COUNTRY STA-
TIONS ARE ELECTRONICALLY MONITORED 24 HOURS A DAY. 7 DAYS A
WEEK. SONGS RANKED BY NUMBER OF DETECTIONS.

THIS

WEEK

LAST

WEEK

2WKS

AGO

WKS.ON

CHART

TITLE ARTIST

PRODUCER (SONGWRITER) LABEL i NUMBER'PROMOTION LABEL

PEAK

POStTION

★ ★ ★ No. 1 * ★ *

NOBODY KNOWS 4 weeks at No. 1 ♦ KEVIN SHARP

C FARREN U.RICKARDS.O.DUBOSE) 143 ALBUM CUT/ASYLUM

IS THAT A TEAR ♦ TRACY LAWRENCE

T.LAWRi'ICt.i ANOi.RSCN JJARRARO-K BEARRl (C) ID) IV) ATLANKC fi?0?0

FRIENDS JOHN MICHAEL MONTGOMERY

C PniX2 U.HOLLASD) (Cl (0) (V> ATLANTtC 87019

IT’S A LITTLE TOO LATE ♦MARKCHESNUH

T.BROWN (M.CHESNUn.S.MORRISEnE.R.SPftINGER) (V) DECCA 55231

EVERYBODY KNOWS ♦ TRISHA YEARWOOO

& -(.'.(IIS BLF'C C. MAkBiSCA' (V) l.*CA 55250

PRETTY LIHLE ADRIANA VINCE GILL

T.BROWN (V.GILL’ IVI MCA 5S251

A MAN THIS LONELY ♦ BROOKS & DUNN

0 liKQOXS.R.OUNN (R.OUNN.T.l.MMES) (C) (0) (V) ARISTA 13066

HALF WAY UP CLINT BLACK

1 SIKUJJ.w L-lACMt .HIACK H. NICHOLAS) iDl (V) RCA 64724

1 CAN’T DO THAT ANYMORE ♦ FAITH HILL

S -i£N[;RlL<S.f.HILL lA.JACKiJ'i IVJ WARNER BROS. 17531

BIG LOVE ♦ TRACY BYRD

T.BROWN !M.CLARKjST:V.r:;>' (Ci iD) |V; MIIA 55230

RUNNING OUT OF REASONS TO RUN ♦ RICK TREVINO

S.BUCKINGHAM.D.XWNSON (G.TEHEN.B.PEGAN 'T! COLUMBIA 78331

AMEN KIND OF LOVE ♦ DARYLE SINGLETARY

) .■) UAI IOV T BfiUCF ,W TFSTFfi GI/^N* /..BUM CUT RFPRiSf

* ★ ★ Airpower * ★ ★

WE DANCED ANYWAY ♦ OEANA CARTER

C FARREN (M 8ERG.R.SCRUGGS) (C) (D) iV) Cf^OL NASHVIllC 58626

CS)

★ ★ ★ Airpower ★ ★ ★

SHE DREW A BROKEN HEART PATTY LOVELESS

LGOftl>tJH ‘JJALilKOf.N.WCLLKO’' (VI EftC 78451

WHERE CORN DON’T GROW ♦ TRAVIS TRITT

O.WAS.T.TRITT (R MURRAH.M.A SF'RINGER) CV) V7ARNER BROS 17451

ONE WAY TICKET (BECAUSE 1 CAN) ♦ LEANN RIMES

W.C R:MLS.C HGWAKO URC-Df.WN.K.HINTONI CURB ALBUM CUT

THAT’S ANOTHER SONG ♦ BRYAN WHITE

b.J WALkiR .R .K lEHNING lJ,P.OANlEL.M.PO\'/ELL.O.PtrX»CK.!,MLL'-jL“S: ASYLUM ALBUM CUT

★ ★ ★ Airpower ★ ★ ★

ME TOO ♦ TOBY KEITH

N.LARKIN.T.KEITH (T.KEITH.C.CANNON) IV) MERCURY NASHWLLE 578810

★ ★ ★ Airpower ★ ★ ★

KING OF THE MOUNTAIN GEORGE STRAIT

T.BROWN.L.6t>C'hE iP N£lSCA,LBCx}Nt. (V) MCA 55288

MAYBE HE’LL NOTICE HER NOW ♦ MINDY MCCREADY (FEAT. LONESTAR'S RICHIE MCDONALD)

i; tAALlCiY.lv.WlLSOH .1 jOHKSOfv (CKOHVI BNA64757

MAYBE WE SHOULD JUST SLEEP ON IT ♦ TIM MCGRAW

J STROUD.D GALUWORE ! L-iiSEieft.K.K.PHILLlPS) CURB ALBUM CUT

UNCHAINED MELODY LEANN RIMES

W.C.RlMtS(A.NOf(TH,H CARiT CURB PROMO SINGLE

HOW WAS 1 TO KNOW REBA MCENTIRE

R.MCENIlRt . GUESS iC.MA.ESh. S KL/SS.S SMiTH, (V) MCA 55290

SHE’S TAKEN A SHINE ♦ JOHN BERRY

C.HOWARO (G.BARNHILL.R BACH) <0 (0) CAPITOi NASMVILIE 58624

EVERYTHING 1 LOVE ALAN JACKSON

K.STEGALL (HALi.t.?..C,U*AJk(6L?iLAI'«' (V; ARISTA 13C68

LITTLE BITTY ♦ AUN JACKSON

K, STEGALL (T T.KAIU (C) rv) ARISTA 13048

THAT OL’ WIND GARTH BROOKS

A.HlYNOlOS -.l Ift YWJlOS.G.cRCCKS. CAPtTOL NASHVILLE ALBUM CUT

SHE WANTS TO BE WANTED AGAIN ♦ TY HERNDON

CXWNSO-NiSD ION'S.:; HrNK“SQN'- (C) 10) (V) EPIC 78482

THE FEAR OF BEING ALONE ♦ REBA MCENTIRE

R.MCENTIREJ.GUESS (YVJiiLDRlDGE.B.MIUER) (V) MCA 55249

ALL 1 DO IS LOVE HER ♦ JAMES BONAMY

O.X)HNSON ;S.EWING.V/.PAnON) (C) (V) EPIC 78396

MOLDIN' DIAMOND RIO

M U.U.tie.T.0UBOlS.OlAMONO RO (K.GARRITT.C.WISEMAAO (Cl (V) ARISTA 13067

HEARTBROKE EVERY DAY LONESTAR

O.CCOK.W.WILSON (S.LASOUNTY.C.KIMG.R.VIMCENT) (V) BNA 64348

YOU CAN’T STOP LOVE MARTY STUART

T,6ROWr.,J,NlEBANK (M.STUART.KOSTAS) (V) MCA 55270

POLITICS, RELIGION AND HER ♦ SAMMY KERSHAW

K STiCAU iT.MARTIN.B M.LL IV) MERCURY NASHVILLE 578612

(THIS AIN’T) NO THINKIN’ THING ♦ TRACE ADKINS

S HENORICKS (T.NiCHOLS.M.O. SANDERS) CAPITOL NASHVILLE ALBUM CUT

LET ME INTO YOUR HEART ♦ MARY CHAPIN CARPENTER

J JENNIlvGS.M :.OWP[‘iTLR(MC CARPENTER) (Cl ID) iV) CCLUMBIA 78453

THIS

WEEK

LAST

WEEK

2WKS

AGO

WKS.ON

CHART

TITLE

PRODUCER ISONGWRITER)

ARTIST

LABEL & NUMBER/PROMOTXW LABEL

PEAK

POSITION

WHEN 1 CLOSE MY EYES

rt iM A SPnlNUtH.N.MUSlCXI

KENNY CHESNEY

iV) fi‘(A 647?6

THAT'S HOW 1 GOT TO MEMPHIS

C YCUNG.U CCA'.;,: • il T CAL,.

♦ deryldodd

.I.'BIA 78478

EMOTIONAL GIRL

K Sit (GM L c.waters.t,c;ahk ir.bdwles.t.clark.c waters)

TERRI CLARK

(.'LRUUCr •(.AbCviLLi A.BUMCUI

1 MEANT TO DO THAT

1 IrC :l Gi.-(ArF«.KtCAI-(; "HANOT'

♦ PAUL BRANDT

'V' orPPlSE 17493

POOR, POOR PITIFUL ME

K SrEGALL.C.WAT-HS /.'.ZEVOI.:

♦ TERRI CLARK

'C-'V MERCJR’ NASK'.ULE 578644

THAT WOMAN OF MINE

B.BECKEH (D.CCOK.T.MENSY)

NEAL MCCOY
(C; ATLAhT'C 87C45

EASE MY TROUBLED MIND

R.CHANCEY.E.SEAY {M GAftVIN.C.WATERS.T.SHAPIROl

♦ RICOCHET
CCILMSIA ALBUM C-j7

HERE'S YOUR SIGN (GET THE PICTURE) ♦ Bill 6NGVAU WITH SPECIAL G'JKTTRAViS TRITT

S.ROl>St(B.tKGVALL.S.ROUSE.ft.SOft) <C) (0) Wi WARNER BRC3 1749)

YOU JUST GET ONE

M.6HtG"T.K,B£AMiSH'D,SCHUT2.V.GlLL)

JEFF WOOD
lUPRlHT ALBUM CUT

IT’S OVER MY HEAD

c u;;OK hay‘ s.c r«ns b.a.ndfrscn)

WADE HAYES

:C.I (V; COHJMBIA 7B4AA

ALL OF THE ABOVE

t STKiii.i; li (;ai . imi:h( i i Kom-Jt. c watfrs'

TY ENGLAND

(VI RCA 64676

★ * ★ Hot Shot Debut * ★ *

NEWk-

RUMOR HAS IT

j STROUO.C.WALKER IC.WALKER.M.J.GREENE)

♦ CLAY WALKER
GIANT ALBUM CUTi'REPWSE

IF SHE DON’T LOVE YOU

U BtCKETTlf BKJCL.M!i-LSO\:

THE BUFFALO CLUB

RISING TIDE AlBUM f-.J’

ANOTHER YOU

P.MCMAKU* ill PA

DAVID KERSH

CURS ALBUM CUT

DONTTAKE HER SHE'S ALL 1 GOT

T.BROVYNfJ.WiLL AMS 3... S.EUM.S'

♦ TRACY BYRD
(V) MCA 55292

GOOD AS 1 WAS TO YOU

. F'S'CLr .3 sC-IL TZ ? u Vil'

♦ LORRIE MORGAN

D';A ALBUM CUT

HIGH LOW AND IN BETWEEN

: i.-fA.MS-f'LAlN.K.STEGA.L .1) C ZAMPHLU

♦ MARK WILLS

:• :V' \I£.RCJRY NASHVILLE 578094

CRY ON THE SHOULDER OF THE ROAD

U \'C&HI3L P .VCHl-,'' L SLA' M DLHG.T.KHt-L!.

♦ MARTINA MCBRIDE

(Cl :v) RCA 64751

EVERY COWBOY'S DREAM

M.WRIGHT (R EiOL-DK'AU)(.K.V/ILLWMSI

RHETT AKINS

(V) DECCA 55291

KISS THE GIRL

LIHLE TEXAS
WALT Disney album Cut

GENUINE REDNECKS

t.BRUV.'N a; i l-'LHI’Cr-

♦ DAVID LEE MURPHY

IVI MCA 55269

MORE THAN 1 WANTED TO KNOW

; STKC JD.W.WILSC’i ,li HLGAN.M f.UbLL

♦ REGINA REGINA

:u 'V' G’-Avt i74re.T(EPR!SF

WOULD 1

K.lEH'i'N3 ;V * rCciST-r!'

♦ RANDY TRAVIS

iV; 7.ARNER BRCS. 17494

455 ROCKET

B K.MATT- A C. WLlSH U HA *, SGS

♦ KATHY MATTEA

MERCURY NftSH'/'LLE ALBUM CJT

FOREVER AND A DAY

M\VR(GHr.BhlLL(j.LA.JuLHl/-Ml ‘ OHMS

♦ GARY ALLAN
(V) DECCA 552B9

NEWk'

1 WANT TO BE YOUR GIRLFRIEND

J.JfcN(c?.Ul>.M,C.C*l»'£Nr£R(M.C,CARP£Nr£R)

MARY CHAPIN CARPENTER

COLUMBIA ALBUM CUT

CHANGE HER MIND

R PENNINGTON {O.MAYO.C.?(ELSO‘(.L-BOONE>

GENE WATSON

STEP C'.E ALBUM CUT

1 WOULDN’T BE A MAN

T.SHAPifiO (M.RElO.R.M.BCUftnE)

♦ BILLY DEAN

TCI '.asmvil-.E album cjT

DO YOU WANNA MAKE SOMETHING OF IT

8 GAUIMCRE.T MCGRAW IB CTlERO.T ANL'tRSChi

♦ JO DEE MESSINA

A.-.h -'Lf;UMC.)T

CHEROKEE BOOGIE

♦ BR5-49

LOVE WORTH FIGHTING FOR

M.BR oHT (MCnsUN J -tC.vni.

♦ BURNIN' DAYLIGHT
u. .iU ir.’CURB 7303!.

HAVE WE FORGOTTEN WHAT LOVE IS

5 V.ATSC'r 3 RHv’.L .5 DIA'. C.5EHNAR:'

♦ CRYSTAL BERNARD

! ’ PlVtR NORTH 16301b

REMEMBER WHEN

J lLO h ','EGA.M CLA^^.J.5ETT S;

♦ RAY VEGA

;C 'C; .VI BNA 64652

BURY THE SHOVEL

j.jTSC JO C JC’.ES.C ARMS'

CLAY WALKER

GWil ALBUM CUT/REPWSE

AIN’T GOT NOTHIN’ ON US

CPi TCUZ iW.MCiilLY ; RUl-i’oO’.

♦ JOHN MICHAEL MONTGOMERY
(C)lD) (VjATLANKC 87044

NEWk-

DADDY’S LiniE GIRL

M.BR.3H' lA .-.ASET K S .S'AlkLR.S .STB!)'

♦ KIPPI BRANNON

CURB ALBUM CUT-UNIVERSAL

ALWAYS A WOMAN

•; GCRCY JS - PNCBLCCr-.S 0 3R L'i

LARRY STEWART
COlUMBlAALEUMCUT

WHEN COWBOYS DIDN’T DANCE

0 COCK.V/.V.USC'i IS.MC-OC'.A-.O.T k.GKEE(«

♦ LONESTAR

(0) tV) BNA 64638

NEWk-

ONCE YOU LEARN

B.BECKEn (B.LivSEr .0 SCHLITZ)

♦ NOEL HAGGARD
ATLANTIC ALBUM CUT

O Records showing an incfease in detections over the previous week, regardless ot chart movement. AifiKjwrer awarded to ttxise records which
attain 3200 detections tor the first time. #Videoclip availability. Catalog number •$ for cassette single, or vinyl if cassette is unavailable. (C)
Cassette single availability. (D) CD single availability. (M) Cassette maxi-single availability. (T) Vinyl maxi-single availability. (V) Vinyl single avail-
ability. (X) CD maxi-single availability, c 1997. 6iliboard/6PI Communications.

Biibcxd Top Countpy Singles Sales

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND
RACK SALES REPORTS COaECTED. COMPILED, AND PROVIDED BY

FEBRUARY 1, 1997

in»

THIS

WEEK

LAST

WEEK

2WKS

AGO

WKS. ON
CHART

TITLE LABEL &NUMBETVDISTRIBUT1NG LABEL

ARTIST

★ ★ ★ No. 1 ★ ★ ★

FRIENDS A7lAN7iC870i9fAG 2 weeks at No. 1 JOHN MICHAEL MONTGOMERY

BLUE CURB 76959

LEANN RIMES

ANOTHER YOU, ANOTHER ME REPRISE 17615WARNER6ROS

BRADY SEALS

LITTLE BITTY ARISTA 13048

ALAN JACKSON

GOD BLESS THE CHILD MERCURY NASHVIUE 578748

SHANIA TWAIN

EVERY LIGHT IN THE HOUSE CAPITOL nashvule 58574

TRACE ADKINS

NEWk-

WE DANCED ANYWAY CAPITOL NASHVILLE 58626

DEANA CARTER

IS THAT A TEAR ATLANTIC 8702IVAG

TRACY LAWRENCE

MACARENA (COUNTRY VERSION) IMPRINT 18007

THE GROOVEGRASS BOY2

nry

—

MAYBE HEU NOTICE HER NOW BNA64757/RCA MINDY MCCREADY (FEAT. LONESTAR'S RICHIE MCDONALD)

1 DO REPRISE 17616/WARNER BROS.

PAUL BRANDT

CHANGE MY MIND CAPiTOL NASHVILLE 58577

JOHN BERRY

POOR. POOR PITIFUL ME MERCURY NASHVILLE 578644

TERRI CLARK

THIS

WEEK

2 WKS
AGO

WKS. ON
CHART

TITLE LABEL & NUMBER/CHSTRIBUTING LABEL

ARTIST

GOODNIGHT SWEETHEART CURB 76990

DAVID KERSH

(Tty

HAVE WE FORGOTTEN WHAT LOVE IS river north 163015

CRYSTAL BERNARD

BIG LOVE MCA 55230

TRACY BYRD

A MAN THIS LONELY ARISTA 13066

BROOKS & DUNN

REDNECK GAMES WARNER BROS. 17648 JEFF FOXWORTHY WITH ALAN JACKSON

(Tty

NEWk-

HERE'S YOUR SIGN (GET THE PICTURE) wutr«REKiS 17491 BILL ENGVALL WITH SPECIAL GUEST TRAVIS TRfTT

JLJ

MORE THAN YOU’LL EVER KNOW WARNER BROS 17606

TRAVIS TRin

(Tiy

NEWk-

SHE’S TAKEN A SHINE capitol naskvillc 58624

JOHN BERRY

(IF YOU'RE NOT IN IT FOR LOVE) I’M OUHA HERE! (REMIX) wcRCURYrt4SHWi£S787% SHANIA TWAIN

LET ME INTO YOUR HEART COLUMBIA 78453/SONY

MARY CHAPIN CARPENTER

NEWk-

SHE WANTS TO BE WANTED AGAIN EPIC 78482/SONY

TY HERNDON

MY MARIA ARISTA 12993

BROOKS & DUNN

Records with the greatest sales gains this week. •Recording Industry Assn, of America certification for sales of 500,000 units. A RIAA
certification for sales of 1 miltion units, with multimillion lilies indicated by a numeral following the symbol. 6 1997, 6illboard/6PI
Communications and SoundScan, Inc.

BILLBOARD FEBRUARY 1, 1997

now fully accessible through the

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^^lihtto ;//www . billboard;^iaea#jP^W

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Countr/

ARTISTS & MUSIC

RANGER DOUG RIDES IN AS SOLO ACT

(Co7itinued from page SI)

COUNTRY

★★★★★★★★★★

by Wade Jessen

T HE BEST MEDICINE: Astrology it isn’t, but it is comedy that suggests
all $;tupid people should wear warning labels. Comedian Bill Engvall (Warn-
er Bros.), a proteg4 of Jeff Foxworthy, opens at No. 61 with “Here’s Your
Sign,” taking Hot Shot Debut honors on Billboard’s Top Ck)untry Albums
with 2,000 units (see Popular Uprisings, page 20). Engvall’s debut is helped
by airplay of the title cut, which increases by more than 700 spins and moves
66-42 on Hot Country Singles & Tracks. Heavy airplay (more than 35 spins)
is detected at Las Vegas’ KFMS and KWNR and WCMS Norfolk, Va. New
airplay this week is detected at 27 of our 162 monitored stations, including
WDSY Pittsburgh, WTQR Winston-Salem, N.C., and KSKS Fresno, Calif.

Both the song and the accompanying video feature labelmate Travis Tritt.
The clip aired more than 20 times during the tracking week on CMT. “Here’s
Your Sign” also appears on Top Country Singles Sales, opening at No. 19
with 900 pieces.

Everybody knows: As his debut single, “Nobody Knows,” holds at No.
1 for a fourth straight week, Kevin Sharp is one week shy of tying Billy
Ray Cyrus’ five-week run atop Hot Country Singles & Tracks with “Achy
Breaky Heart” in ’92 for the most consecutive weeks at No. 1 by a new
artist’s debut release since Billboard began using monitored airplay infor-
mation from Broadcast Data Systems in January 1991 . Prior to Cyrus’ five-
week stay, the last debut single by a new artist to hold for five weeks was
“Skip A Rope” by Henson Cargill in the March 2, 1968, Billboard.

Nancy Tunick, field promotion manager for Asylum, says that the stay-
ing power of “Nobody Knows” has surprised everyone, including Sharp.
“Kevin is such a humble guy, and this means so much to him. There were
tears of joy when he heard the news,” she says. Meanwhile, Sharp’s set,
“Measure Of A Man,” increases by 2,000 units to take the Greatest Gainer
cup on Top Country Albums (8-5) and jumps 63-57 on The Billboard 200.

And IT’S COUNTRY: With a 14% increase, BR5-49 (Arista), kingpins of
the vibrant, retro-traditional Lower Broadway club scene in Nashville, takes
Pacesetter honors on Top Country Albums. Its self-titled debut set moves
4,000 pieces after a Jan. 14 appearance on “Late Show With David Letter-
man." Although the label has serviced country radio with a second single,
the first release from that set, “Cherokee Boogie,” increases slightly to bul-
let at No. 66 on Hot Country Singles & Tracks. That song peaked at No. 44
on our airplay list in the Nov. 23, 1996, issue.

X HIS GIRL IS A WOMAN NOW: Kippi Brannon (Curb/Univei*sal) resur-
faces at No. 72 on Hot Country Singles & Tracks after a 15-year hiatus.
Brannon charts with “Daddy’s Little Girl,” her first single since “He Don’t
Make Me Cry,” charted in the Sept. 11, 1982, Billboard. At age 15, Brannon
first entered our airplay chart in 1981 with a cover of Webb Pierce’s clas-
sic 1954 song “Slowly.” Brannon included another Pierce song, “I Ain’t
Never,” on a new package, “I’d Be With You,” scheduled for release April 8.

Jay Morgan, PD/music director at WJCL Savannah, Ga., says that Bran-
non’s new song should pack a similar punch as 1994 ’s “Don’t Take The Girl”
by Tim McGraw. Morgan says, “Early response is telling us that this will
be a huge female song, but I think as it develops more, it will become a
favorite with most men, too." Brannon’s song is airing on 48 of our moni-
tored stations.

COUNTRY SINGLES A-Z

PUBLISHERS/PERFORMANCE RIGHTS/SHEET MUSIC

nn.E (Publisher - licensing Org.) Sheet Music Dist.
60 45S ROCKET (tcving, BML/Cracklin'. BMI/Bug. BMI)
WBM

71 AINT GOT NOTHIH' ON US (Wamer-Tamerlaoe.
8M(/New BMlWarner Bros.. ASCAP/i.E. Robin-
so(«s.ASCAP)W8M

30 AU I DO IS LOVE HER (Acuff-Rose. BMI/MCA,
ASCAP/Delta Kappa Twang. ASCAP) HLAVBM
47 AU OF THE ABOVE aen Ten Tunes. ASCAP/Ten Ten.

ASCAP/Sony/ATV Tree. BMI/Chns Waters. BMI) HL
73 ALWAYS A WOMAN (W6. ASCAP/Kitobloch.

ASCAP/Steve O'Brien. BMI)

12 AMEN KIND OF LOVE (MCA. ASCAP) HL

50 ANOTHER YOU (EMI Apm. ASCAP) HI

10 BIG LOVE (Wamer-Tameflane. BMI) WBM
70 BURY THE SHOVEL (Great Cumberland. BMI/Fugue.

BMi/Windowcheese. ASCAP/Arms Songs. ASCAP) WBM
63 CHANGE HER MIND (Hamstein (^umb^nd. BMblarry
Boone. BMI)

66 CHEROKEE BOOGIE (Fort Knox. BMI/Trio. BMI)

HiyWBM

$4 CRY ON THE SHOULDER OF THE ROAD (Mighty Nice.
QMl/Glue Water. BMUlongitude. BMl/August Wind.
BMI/Great Broad. BMI)

72 DADDY'S LIHLE GIRL (Purple Sun. SESAC/Tenl^.
SESAC/Real GiriFnends. SESAC/Stan Webb. SESAC)

51 OOHT TAKE HER SHE'S ALL I GOT Ueny Williams.
BMI/Bug. BMI/Embassy. BMI/ExeUoiec. BMI)

65 DO YOU WANNA MAKE SOMETHING OF TT (Little Big

Town. BMI/Amencan Made. BMl/BMG. ASCAP/Trailer
Trash. ASCAP/Slow Train. ASCAP] HUWBM
43 EASE MY TROUBLED MIND (Sony/ATV Tree.

BMI/Moline Valley. ASCAP/Hamstein Stroudavarious,
ASCAP/l^netic Diamond. ASCAP/Curb. ASCAP)

HUW6M

3S EMOTIONAL GIRL (Starstiucli Angel. BMI/Oead Solid
Perfect. BMI/Sony/AIV Tree. BMI/Chris Waters. BMI) HL

5 EVERYBODY KNOWS (August Wind. BMI/Great Broad,
BMl/Ceorgian Kills. BMI/longitude. BMI) WMI

55 EVERY COWBOYS DREAM (Sony/ATV Tree. BMI/That's
A Smash. BMI/Sony/ATV Cross Keys. ASCAP/Kim
WiNiams. ASCAP/Milie Curb. BMI) KUWBM
25 EVERYTHING I LOVE (Cobum. BMVTen Ten. BMI/Just
Cuts. BMI/Songs 01 PolyGram Ini’l. BMI) HL
29 THE FEAR OF BEING ALONE (Rich Hall. ASCAP/Water-
town. ASCAP/Fame. BMI) WBM
61 FOREVER AND A DAY (M«lrty Nice. BMIAaudersongs.
BMI/W.B.M.. SESAC/Dyinda Jam. SESAC) WBM

3 FRIENDS Uhat's A Smash. BMl/Mike Curb. BMI) WBM
57 GENUINE REDNECKS (N2 0.ASCAP/0M Desperados.
ASCAP)

52 6OO0ASIWAST0Y0U(New0on.ASCAP/New
Kayes. J^CAP/Rondor. Wl/lrving. Ml)

6 HALF WAY UP (Blaciiened. BMI) WBM

60 HAVE WE FORGOnEN WHAT LOVE IS (EMI Black-
wood. BMI/BTK. BMVtiirl Next Door. BMVWamer-
Tamerlane. BMI) HL/W6M

main thing was that we didn’t want it
to sound like the same eight players
who are on everybody else’s record —
and we succeed^."

Standout accompanists include the
Riders’ fellow Grand Ole Opry star
Carol Lee Ooper, who leads the Opry’s
backup vocal group, and the group’s
Dennis McCall. “I wanted a ‘girl and
guy’ harmony sound, a little like the
Browns,” says Ranger Doug, referring
to the ’50s brother-sister country-pop
trio. “She has a perfect ear, and her
voice blends perfectly with mine.”

Also singing backup, on “Riding On
The Rio,” is his daughter, Sally Green,
in her recording debut. On the instru-
mental side, Ranger Doug also singles
out, in addition to Miskulin, Opry gui-
tarist Jimmy Capps’ jazzy inventive-
ness. Ranger Doug notes that Capps
often supplies twin acoustic guitar
lines. “We very much wanted twin
instrumentals,” he adds, noting the
musical presence of fiddle, trumpet,
viola, and cello. “The sound of harmony
is weaving throughout,” he says. “That
and the sound of the West.”

The result, says Real West Produc-
tions/ Warner Western GM JeffSkillen,
“just sparkles.”

“Ranger Doug fills a niche in west-
ern music that no one else fills,” adds
Skillen. “He’s a brilliant singer and
yodeler, and the tone of his voice is just
incredible. You combine that with bril-
liant songwriting — he’s won the West-
ern Hei'itage Award twice — and his
name recognition in the marketplace,
and, by gosh, that’s a record just wait-
ing to happen. Fortunately Rounder
and [Riders’ manager] David Skepner
were agreeable.”

WEA-distributed Warner Western,
Skillen notes, is a joint venture betw'een
Real West and Warner Bros, and “sort
of acts as an indie in moor’s clothing.”
The label has thus built an indie distri-
bution network of western lifestyle and
alternative retailers, consisting of some
1,000 outlets that vary from museum
gift shops to western wear stores and
horse gear tack shops. They will be
supplied with countertop display units
backed up by other promo material,
including play copies, posters, and 1 by
I’s. Skillen says these retailers form a
“parallel” market to the traditional
retailers serviced by WEA

“The interesting thing is that by
working a parallel market to WEA, we
drive consumers to traditional music
retail as well,” notes Skillen, “because

32 HEARTBROKE EVERY DAY (Longrtude.BMUAu£ust
Wind. BMI/'San Joaquin Son, BMI/Rio Zen, BMI^m
King. BMt/Careers-MG. BMI) KUVfBM
44 HERE’S YOUR SIGN (GET THE PHmiRE) Uwin Spurs.
BMI/Shabloo. BMI/Songs Of f^iam IntT. BMlrVirsin
Timber. BMI)

53 HIGH LOW AND IN BETWEEN (Tom Collins. BMI) V/BM
31 MOLDIN' (IfviftE. BMI/Kelly Garrett. BMt/Almo.
ASCAP/Daddy RaMit. ASCAP/Sony/ATV Tree. BMI)

WBM

23 HOW WAS I TO KNOW (Sony/ATV Cross Kays,
ASCAP/AI Around Town. ASCAP/Stsrs^k Angel,
BMI/EMI Blackwood. BMI) HL
9 I CANT 00 THAT ANYMORE (Yee Haw. ASCAP/WB.
ASCAP) WBM

49 IF SHE DONT LOVE YOU (WB.ASCAP/Big Tractor.

ASCAP/EMI Apm. ASCAP/K-Town. ASCAP) HL/WBM
40 IMEANTTOOOTHAT(Peemiusic.BM(/Wamer-rainet-
lane. BMI/Pollywog. BMI/Socan. BMI) WBM
2 IS THAT A TEAR (Alabama Band. ASCAP/Wildcountiy.

ASCAP/Miss Blyss. ASCAP/tac Grand. ASCAP) VfBM
4 irs A UniE TOO UTE (EMI BtaeJewood. BMI/Soi«S
01 Jasper. BMI/Die Fal Rat. ASCAP/EMI Apni.
ASCAP/WB. ASCAP) HLW8M

46 irS OVER MY HEAD (Sony/AIV Tree. BMUMr.Bubba.

62 I WANT TO BE YOUR GIRLFRIEND (Why Walk. ASCAP)
64 IWOULDNTBEAfMN(BMGSongs.ASCAP/Piiygram
Int'l. ASCAP/Songs Oe Buigo. A$C^) HL
19 KING OF THE MOUNTAIN (Sony/ATV Tree. BMI/Tenlee.

BMI/Sony/ATV Cross Keys. ASCAP) HL
56 KISS THE GIRL (Walt Disney, ASCAP/Wonderland.

BMI) KL

36 LH ME INTO YOUR HEART (Why Walk. ASCAP)

the publicity and momentum we get
from our promotions for alternative
retailers also pushes consumers to the
mainstream retailers where they typi-
cally buy records.”

Skillen adds that Warner Western is
examining direct marketing to con-
sumers via its database of people who
have bought directly from the label in
the past, combined with the Riders’
own extensive database. “We’re plan-
ning on a postcard mailing announcing
mail or phone ordering, which can also
serve as advertising for those who want
to go to the store to buy it,” he says.

But the key to promoting “Songs Of
The Sage,” Skillen says, is via the Rid-
ers’ “vast” itinerary. “Doug’s made
himself available to work the record
from the road — and the Riders are
totally supportive,” he says.

The album should be a natural for
roots music stations where Riders
product has worked well, adds Skillen,
who’s contacted Jon Crimson of Ck)un-
terpoint Music Group to work the
album to that format. Two weeks prior
to release, Warner Western will send it
to the 300 stations carrying western
music programming that the label reg-
ularly services.

The label will also buy announce-
ments on NPR stations that carry the
long-running “Riders Radio Theater.”

BUFFALO CLUB’S DEBUT

(Co7itmued from page SI)

The band has been polishing its live
show by performing at Toolies in
Phoenix three nights a week for the
past month. “It’s helping us solidify the
band sound that we have on the record,”
Kelley says. Rising Tide plans to show-
case the trio at Toolies.

Many stations are already familiar
with the band from the radio promotion
tour it’s been on since November. “The
response has been fabulous,” says Ris-
ing Tide VP of promotion Tim Murphy.
“What’s really great about these guys
is you can take them out, and they can
do it live with a couple of guitars and
their harmony singing as well as they
can on the record.”

Rising Tide VP sales and marketing
Joel Hoffner says that the label plans
to have the trio perform “conference-
room concerts” not only for radio but
for retail accounts, but for consumer
and trade publications. “As we get clos-
er to street date, we are looking to take

26 LITTLE BITTY (Hallnote. BMI) WBM
67 LOVE WORTH FIGHTING FOR (EMI Apnl. ASCAP/K-
Town. ASCAP/EMI Blackwood. BNl/Ticket To Ride.
BMI/Wamer-Tamerlane. BMi/Titac Truk. BMI) HL/WBM
7 A MAN THIS LONaY (Sony/ATV Tree. BMl/Showtilty.
BMI/Still Workov For The Man. BMI) HI

20 MAYBE HE'U NOTICE HER HOW (B«GunLBMl/WB.
BMDVTBM

21 lUYBE WE SHOULD JUST SLEEP ON {T(Noosa
Heads. BMI/Emdar. ASCAP/Texas V/edge. ASCAP) WBM

18 ME TOO (Songs 01 l\)lyGram Int'l, BMI/Tokeco Tunes.

BMUWacissa Rtver. BMt/CMI. BMI) HL
58 MORE THAN I WANTED TO KNOW (ARM. ASCAP/Sier-
ra Home, ASCAP/Warner-Tamertane. BMI/Under The
Bridge. BMI) WBM

1 NOBODY KNOWS (Hdca. BMl/Joe Shade. BMIA-on?-
hide. 6MI/D'|On$ong$. BMt/IMI Blackwood. BMI)
CLWHL

75 ONCE YOU LEARN (Irving, BMI/New Don, ASCAP/New
Hayes. ASCAP)

16 ONE WAY TICKET (BECAUSE I CAN) (Warner-Tamer-
lane. BMI/WB. ASCAP/Global Nomad. ASCAP) WBM
34 POLITICS. RELIGION AND HER (Hamstein Cumber-
land. BWBaby Mae. BMI/MCA. ASCAP/Brother Bart.
ASCAP/SokJ For A Song. ASCAP) HL/WBM
41 POOR, POOR PITIFUL ME (Wamer-Tamertane.

BMl/Daik Room. BMI) WBM
6 PRETTY LITTLE ADRIANA (Benefit. BMI) WBM
69 REMEMBER WHEN (Wamer-Tamertane. BMI/Casa
Vega. BMI/Tlying Dutchman. BMI/Words ^ John.
ASCAP/W8, ASCAP) WBM

48 RUMOR HAS IT (Lori Jayne. BMI/Sondaddy. BMI/Muy
Bueno. BMI)

11 RUNNING OUT OF REASONS TO RUN (Zomba.

Another possibility is including an
album track (either “Amber Eyes” or
“Hurry Sunrise”) on the CDX compi-
lations serviced to nonreporting coun-
try stations, along with bounce-back
cards for gauging airplay.

Orin Friesen, morning music direc-
tor and air persoTiality at Wichita, Kan.,
traditional country station KFDI,
already plays everything from Warner
Western, but is especially looking for-
ward to Ranger Doug’s new disc.

“I love his music and have been a fan
of his since he was a historical vsriter
for the Country Music Foundation,”
says Friesen. “He’s a great songwriter
and singer, and the more we can get out
of him, the better. He and Woody and
Too Slim have carried on the western
tradition better than anybody.”

“They’re my best buddies, and we'd
be crazy to break up!” adds Ranger
Doug, further discounting any notions
of disbanding. “This is just one of the
little things you do that’s just part of
your career. You think I want to start a
band and tour? Holy shit! I’ve been
there before, and I like what I’m doing
with Riders In The Sky a lot more.”

The trio, incidentally, has now tallied
3,481 performances as of the end of
1996. Rounder will celebrate the
group’s 20th anniversary later this
year, perhaps with a boxed set.

these guys into conference rooms or
wherever they’ll have us,” he says.

Rising Tide began the campaign to
expose the act by mailit^ a tube with
three plastic buffalos in it to key indus-
try people. “[There was) nothing, no
sign of where they came from,” Hoffner
says. “The only thing you could tell was
it had a Nashville postmark. A week
after we mailed them people had these
little buffalos all over their desks, and
no one had a clue. Everyone was talking
about it, so we created a buzz. Two
weeks afterward, we followed with a
card that explained the Buffalo Club.”

Hoffner says that for the CD single,
the label had the song tracked 20 times
on the disc, so if the listener didn’t turn
it off after the first listen, it would con-
tinue playing. He adds that the label is
considering other promotional ideas uti-
lizing the buffalo theme. “You’d be
amazed how many things have buffalos
on them,” he says.

BMl/AMR, ASCAP/Sierra Home. ASCAP) WBM

14 REDREW A BROKEN HEART (Lc« Rhythm. BMI) HL
24 SHrS TAKEN A SHINE (Mike Chapman. ASCAP/Bayou

liberty. ASCAP/M Nations. ASCAP/Emdar. ASCAP/Tul
Keel. ASCAP/Texas Wedge. ASCAP) WBM
28 SHE WANTS TO BE WANTED AGAIN (BMC. ASCAP) HI
27 THAT OL’ WIND (Feelbilly. BMl/Breon's Island.

BMl/Mator Bob. ASCAP/No Fences. ASCAP) WBM
17 nurs ANOTHER SONG (High Steppe. ASCAP/H«h
Seas, ASCAP/Acutf-Rose, BMI/bxust Fork.
N4l/Sony/ATV Tree. BMI) Kl/WBM
38 THAFS HOW I GOT TO MEMPHIS (UnichappeN.
BMl/Moms. BMl/Tbm T. Hall. BMI/John 0 Lent. BMI)

42 THAT WOMAN OF MINE (Sony/ATV Tree. BMI/Sony/ATV
Cross Keys. ASCAP/Miss Dot. ASCAP) HL
35 (THIS AIN71 NO THINION' THING (EMI Blackwood.
BMI/^ land. BMI/Starstruck Writers Group.
ASCAP/Matk 0.. ASCAP)

22 UNCHAINED MELODY (Frank. ASCAP)

13 WE DANCED ANYWAY (Longitude. BMI/AupistVAnd.

BMI/Great Broad, BMI/Heart 01 Hearts. BM) WBM
74 WHEN COWBOYS DIDNl DANCE (Music Genesis.
ASCAP/Pepe MorciMps. BMI)

37 WHEN I CLOSE MY EVES (Tom CoHins.BMVMurrah.
BMI) WBM

15 WHERE CORN DON'T GROW (Tom CoUms.BMI/Mut
rah. BMI) WBM

59 WOULD I (Starstruck Writers Group. ASCAP) HL
33 YOU CANT STOP LOVE (Wamer-Tameitane. BMI/Marty
Party, BMI/Songs 01 BaiyGram, BMI/Seven Angels.

BMI) HL/WBM

45 YOU JUST GET ONE (Benefit BMI/New Don.
ASCAP/New Hayes. ASCAP) WBM

BILLBOARD FEBRUARY 1.^1997

Artists & Music

BUIE

NOTES

by Jim Macnie

T RAVEL PLANS: Jazz artists often complain about how rough it is to tour in
America, but the Mingus Big Band has found a score of friendly wnues acrass
the country. Between Nov. 11-24, the Dreyfus recording act swooped through
the Northwest, Colorado, and California. It’s a stretch that warmed listeners to
the music on the band’s new double disc, “Live In Time,” recorded live at its
usual haunt, the Fez room at New York’s Time Cafe. The ensemble with the
ever-changing personnel deals exclusively with the music of Charles Mingus;
it has had a weekly gig at Fez for years. The road work must have impressed
some important industry figures. “Live In Time” is up for a Grammy.

Tl)e Vei*ve JazzFest — a tour of America that featiu*es some of the label’s high-
Wsibility artists, including Joe Henderson’s trio, Charlie Haden’s Quartet
West, and the “Kansas City” soundtrack band — is also tiying ita hand at tour-
ing the States. It’s making its way from the West Coast to the East. Unusual
stops in Tucson, Arlz., and Knoxville, Tenn., are peppered in vdth cities more
accustomed to big-name jazz shows, like Washington. D.C., and Boston. On Sat-
ui-day (25) the JazzFest is in New York at Town Hall.

“With all these recent ailicles alwut little interest in career dewlopment on
the part of record companies, it’s great that Verve is taking the initiative,” says
Julie Lokin, pi*esident of New Audiences, which is presenting the Manhattan
gig. The shows are facilitated further by the JazzFest’s sole sjwnsor, interna-
tional mutual fund organization Orbitex.

Lokin is candid enough to say that sizable bookings in jazz are always a
gamble. But, he notes, “I’ve heard from l>oth the Ial>el anri the agent that the
other shows have done lots of walk-up business, and where (ticket sales] at
other venues have started out slowly, they’ve done well at the end. And why
not? It’s a dynamite concept. There are three acts you usually have to see in
a tiny club. There you pay a lot of money and don’t get a very long show. Here
it’s a full concert, with many artists of stature; it gives {Kjople a chance to see
them in an intimate setting without having to worry al)out waitresses hus-
tling them for drinks.”

The gigs have perhai)s had a bit of extra help. Quartet West’s latest, “Now
Is The Hour,” was nominated for a Grammy in January; and Robert Altman’s
“Kansas City” came out on video at the start of the year, which is likely to boost
mainstream awareness of its very hip Verve soundtrack.

The New York show has a little extre luck on its side as well. New Audiences’
25th anniversary is Feb. 4. Lokin began offering concerts in the city in 1972,
and his first show was a beaut: jazz’s mightiest bassist and an all-star cast at
Lincoln Ckinler. More kismet? Columbia/Legacy just reissued a recording of
the show in December. The set, “Charlie Mingus And Friends In Concert,”
contains plenty of newly issued music from the show. Congrats to Lokin and
company.

DaTA: It’s a learn-by-doing vibe as the New York chapter of the National
Academy of Recording Arts and Sciences (NARAS) sponsors an open jam ses-
sion at Biixlland (315 W 44th) on Tues<lay (28). The core band includes saxo-
phonist Bob Kindred, drummer Akira Tana, bassist Harvie Swartz, and
pianist Larry Goldings. Michael Bourne of jazz station WBGO Newark, N. J.,
will share the hosting duties with pixxlucer Bob Porter. All are invited; the
event is free for NARAS members.

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a musical approach
very different from her
father’s. The
supple blues and
smooth, jazz-inflected
vibe of her new
album shows Zakiya’s
other musical
influences — the sultry
stylings of Sarah
Vaughan, Dinah
Washington, Ella
Fitzgerald, and
Johnny Mathis. John
Lee Hooker does
appear on the album’s
closing track “Bit
By Love (Hard Times).’’

TUIank^

BILLBOARD FEBRUARY 1. 1997

Artists & Music

Latinos Score In Brazil, Vice Versa

Brazilians, latinos inter-

MINGLING: It is summertime in the
Far South of Latin America, and the
musical living is being done in Por-
tuguese and Spanish.

Sony Brasil’s massive reggae act
Skank has caught fire in Chile, EMI
Brasil’s renowned singer/songwriter
Carlinhos Brown is rolling in Colom-
bia, and Brown’s ska/rock labelmates
Paralamas routinely hit MTV Lati-
no’s top video countdown.

On the linguistic flip side, Latino
acts are scoring big in Brazil, includ-
ing Sony Colombia’s hot chanteuse
Shakira, Sony International’s actor/
singer Ricky Martin, Warner Mexico
superstar Luis Miguel, and Fono-
visa’s fast-climbing Enrique Iglesias.

Of course, Paralamas have enjoyed
a solid track record in Spanish-lan-
guage markets for quite some time.
Two of the band’s videos charted
simultaneously on MTV Latino’s top 20
countdown: “La Bella F.una’’ and
“Lourinha Bombril,” a Portuguese
take of a song originally recorded by
Argentina’s reggae stars Pericos.

But apart from Paralamas, there
were other Brazilian acts making their
introductions to the Spanish-language
markets.

Skank broke in Chile with “Garota
Nacional,” the smash leadofT hit from its
latest album, “Samba Pocon^,’’ that was
cut in Spanish. Brewn’s latest offering,
“Alfagamabetizado,” failed to make
much noise in Biazil, yet the track “A
Namorada’’ is a hit in Colombia.

BMG’s northern Brazilian group
Carrapicho, which became a best-sell-
ing act in France with its Amazonian
boi bum ba cadence, also has lit up the
Argentinian market with its album
“Fiesta Dc Boi Bumba.” In December,
the album was certified platinum
(60,000 units sold) by Argentina’s
recording trade group CAPIF. Like-
wise, PolyGram Brasil’s pagode titans
Gera Samba hit the Ai^ntinian sales
board with its monstrous Brazilian
album “E 0 Tchan,’’ which was certi-
fied gold (30,000 units sold) in Decem-
ber.

As Brazilian pop, ax4^, and samba
bands garner notices in the rest of
Latin America, their Latino counter-
parts are gaining a foothold in Brazil,
which traditionally has shunned Lati-
no acts. So far, Shakira has emerged
as the biggest Latino act in Brazil. Her

by John Lannert

1995 release “Pies Descalzos” has sold
180,000 units in Brazil, thanks, in part,
to dance remixes by talented Brazilian
DJ Meme Mansur of the hit singles
“Estoy Aqui” and “Un Poco De Amor."
In March, Shakira is slated to do a
aeries of shows in Brazil.

Also making a strong showing in
Brazil is Martin, who was fortunate
enough to secure a song in the popu-
lar Globo soap opera “Salsa E
Mcrengue.” His album “A Medio
Vivir” is starting to move and has
yielded the summer smash “Maria.”
Attracting radio airplay in Brazil arc
Luis Miguel’s “Dame” and Iglesias’ “Si
Tu Te Vas.”

Stateside briefs: country

notable Mark Chesnutt has been
named CMT’s February showcase
artist in Latin America. Concurrent
with his CMT spotlight, Capitol is
releasing the single and video “Let It
Rain,” taken from Chesnutt’s recently
released album “Greatest Hits.”

Sony Discos has inked a distribution
pact with tropical imprint J&N
Records. The deal takes effect on Sat-
urday (1) . . . Fonovisa has signed
Jordi, an 18-j'ear-old singer who is the
son of Dyango . . . Becky Lee Meza,
the ll-year-old girl tapiKjd to play the
part of the young Selena in the latter’s
forthcoming biopic, has inked a record-
ing contract with Dallas-based Barb
Wire, which is distributed by Virgin
Records. Her label debut is expected
to drop the same day the film is
released, March 21.

Flaco Jimenez is cutting a new
album that the accordion ace says is
being shopped around. Jimenez, late
of Arista/Latin, won a Grammy last
.rear in the Mexican-American/Tejano
category. He is up for two country
Grammys this year. Jimenez will
appear on the “Lounge-a-Palooza”
compilation, due in March on Holly-
wood Records.

Miami-based H&L Distributors is
opening a label called Nostalgia Rec-

ords. H&L president Hinsul Lazo
says the indie-distributed imprint will
initially concentrate on tropical orches-
tras popular in Miami in the ’70s and
’80s. The label’s just-released debut is
“Merengufiando,” a various-artists
package of early ’80s merengue hits.
By the way, H&L puts out sterling
monthly catalogs, complete with sales
data . . . For those readers of Notes in
Latin America who are experiencing
difficulty securing a subscription to
Billboard, please fax your address and
billing information to Adam W’aldman
at 212-5:l(>-5294.

Tango, part II: For the second
straight month, Julio Iglesias’
“Tango” (Sony) tops the Argentine
sales list in December, according to
CAPIF. Following are those top 10 sell-
ers:

1. “Tango,” Julio Iglesias (Son.v).

2. “Tropimatch 2,” Sergio El Lo-
bizon Del Oeste (PolyGram).

3. “Xuxa Dance,” Xuxa (Pol.yGram).

4. “Fiesta Inolvidable,” La Barra
(Sony).

5. “Ahora Comienza La Fiesta,” La
Mona Jimenez (BMG).

6. “Fiesta De Boi Bumba." Carrapi-
cho (PolyGi*am).

7. "Todos A Bailar, Vol. 2,” various
artists (Sony).

8. “E 0 Tchan,” Gera Samba (Poly-
Gram).

9. “Nada Es Igual . . .,” Luis Miguel
(Warner).

10. “Ven Que Tengo Mambo,” Jean
Carlos (BMG).

(Contimied on page U)

LATIN TRACKS A-Z

TITLE (Publisher - bcensing Org.) Sheet Music Oist.

24 ilMTOLOGIA (Sony Discos. ASCAP)

2 ASICOMOTECONOCMCrisma.SESAC)

11 COMO TEVOY A OLVIOAR(Q)oyn£ht Control}

40 CONMARUCNKCilimonsa.ASCAP)

17 COSTUMBRES (BMG Songs. ASCAP)

16 COSTUMBRES (BMG Songs. ASCAP)

7 OUENME SI ESTOr UORANOO (Irmeos Vitale. SMI)

34 DESEARIA (Copyright Control)

4 EL BAILE DE LA BOTELU (NA BOQUINHA DA GAR-
RAFA) (Copyright Control)

26 EL PRINCIPE (Sony Musk. ASCAP)

1 ENAMORADO POR PRIMERA VEZ (FonomusK,
SeSAC)

2d ENESTEM0MENT0(Copyr«ht Control)

10 JUGUETE (Copyriglit Control)

33 U CHONA (Copynght Control)

6 US COSAS QUE VIVE$(Cooynght Control)

12 LINDA EH (Sony Discos. ASCAP)

32 MATAMEtFononuiSK. SESAC)

30 MEDIA NORA (Copyright Control)

23 ME PASALOMISMO (Copyright Control}

IS Ml M.MA RECUMA (AOG. SESAC)

38 Ml CORAZONESTUTOtCopyr^ Control)

19 MONO NEGRO (Copyright Control)

39 NECESITO UNA PERSONA (Copyright Control}

31 NECESITO (Pig Kaus.BMI)

22 Nl COMO AMIGOS (Copyright ConM)

37 NO LO SONE (Copynght Control}

3 NO PUOE ENAMORARME MAS (TN Edioorres. 6MI)
36 NO TE VOY A PEROONAR (Copyright Control)

6 PALOMITABUNCAtZomba Golden Sands. ASCAP)

5 PIENSAEN Ml (Copynght Control}

14 POTPOURRI OE QUIQUE (Unimusica,
ASCAP/Fonomusic. SESAC)

9 QUE TUTE VAS (Copyright ConIroO

25 REPUTACION (Sony Discos. ASCAP)

35 SE LO 0E)0 A DIOS Uam. BMi)

18 SEMURIOOE AMOR (Copynght Control)

20 SOLO UN SUENO (JUST A DREAM) (Embassy. BMI)

27 TANGO (Copyright Control)

28 TEAMARE A ESCONDIOAS (Copynght Control)

13 VOLVERAS (Copyright Control)

21 WINNONA (Copynght Control)

3illboaid«

FEBRUARY 1, 1997

Hot Latin Tracks

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14 RUBEN BUDES SONY
CHILAM BAUM

15 U MAKINA lANEMI LATIN

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BILLBOARD FEBRUARY 1 . 1 997

Copyrighted material

FEBRUARY 1, 1997

^Billboord Lotin 50

Compiled from a national sample of r^il store and rack sates reports coitected, compiled, and providod by m**

THIS

WEEK

LAST

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ARTIST

LABEL ANUMBER/DlSTRISuriNG LABEL TITLE

★ ★ ★ No. 1

★ * ★ 1

JULIO IGLESIAS COLUMBIA 9wMisnlt4o. 1 TANGO |

ENRIQUE IGLESIAS ▲ fonovisa osoe D

ENRIQUE IGLESIAS |

★ ★ Greatest Gainer ^ * I

GIPSY KINGS • nonesuch 793SafM THE BEST OF THE GIPSY KINGS |

SELENA EMI LATIN &3S85

SIEMPRE SELENA

LOS DEL RIO ARIOLA 37SB7/BMG QB

MACARENA NON STOP

LUIS MIGUEL • WEA latina is947

NADA ES IGUAL...

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OESEOS Y DELIRIOS

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DREAMING OF YOU

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THE BEST OF GIPSY KINGS

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MACARENA NON STOP

5 LUIS MIGUEL WEA LATINA
NADA ES IGUAL...

6 SHAKIRA SONY RES DESCM.ZOS

7 SELENA EMl^MI LATIN
DREAMING OF YOU

8 VARIOUS ARTISTS
ARI01A./8MG MACARENA MIX

9 MARCO ANTONIO SOUS
FONOviSA EN PLENO VUELO

10 LAURA PAUSINI WEA lATiNA
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11 RICKY MARTIN SONY
A MEDIO VIVIR

12 RICARDO ARJONA SONY

SI EL NORTE FUERA EL SUR

13 OLGA TANON WEA LATINA
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14 GIPSY KINGS nONESUCHtaG
TIERRA GITANA

15 MARCO ANTONIO SOLIS Y
LOS BUKIS FONOVISA

20 ANIVERSARIO

1 GLORIA ESTEFAN EPIOSONr
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TOOOASU TIEMPO

3 GILBERTO SANTA ROSA
SONY ESENCIA

4 GRUPO MANIA SONY
ESTA DE MODA

5 INDIA RMM MEGA MIX

6 MANNY MANUEL MERENGA-
ZO/RMM AUTENTICO

7 VARIOUS ARTISTS J&N/EMI
LATIN MERENHiTS '97

8 JERRY RIVERA SONY
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9 TITO ROJAS M P
HUMILDEMENTE

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LA MAKINA...A MIL

12 JUAN LUIS GUERRA 440
KARENA^LYGRAM LATINO

GRANDES EXITOS

13 ALBITA CRESCENT MOON/EPIC
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14 VICTOR MANUELLE SONY
VICTOR MANUELLE

15 JESUS ALEMANY HANNl-
SAL/RYKOOISC
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1 SELENA EMI LATIN
SIEMPRE SELENA

2 PEDRO FERNANDEZ PCLYGRAAI
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3 GRUPO LIMrTE POLVGRAAI LATI-
NO PARTIENDOME a ALMA

4 MICHAEL SALGADO JOEY
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5 LOS MiSMOS EMI LATIN
JUNTOS PARA SIEMPRE

6 ALEJMfORO FERNANDEZ SONY
MUY DENTRO re Ml CORAZON

7 LOS TIGRES DEL NORTE FONO-
VtSA UNIDOS PARA SIEMPRE

8 GRUPO LIMITE POLYGRAM
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9 BOBBY PULIDO EMl LATIN
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10 JENNIFER Y LOS JETZ EMi
LATIN DULZURA

11 BRONCO FONOVISA HOMENA-
JE A LOS GRANDES GRUPOS

12 GRUPO MOJADO FONOVISA
SUENO Y REALIOAD

13 ALEJANDRO FERNANDEZ
SONyQUE SEAS MUY FELIZ

14 JAY PEREZ SONY NO LIMITS

15 SPARXY LORENZO ANTONIO
FONOVISA SPARX Y LORENZO
ANTONIO CANTAN CORRIDOS

O Albums with (he greatest sales gams this week. • Recording Industry Assn. Of America (RIAA) certifi-
cation (or sales of 500.000 units, a RIAA certification for sales of I million units. Greatest Gainer shows
chart's largest unit increase. B indicates past and present Keatseeker titles. t> 1997, 8illboard/8PI
Communications and SoundScan, Inc.

FELilCIAlVO

Including the hits"Americano" 1
and "Te esperare"

(Spanish version of Richard Marx's
“Right here waifin 5 "l

P^gs from the best latin
composers -Roberto Carlos
and Manuel Alejandro- for
the first time in Mariachi

Es PolyGram

LATINO

Copyrighted maten

BiaBOARD FEBRUARY 1.1997

jillboOfd- FEBRUARY 1, 1997

lonteniDorapv Christian

THIS WEEK

Compiled from a national sample of retail store and rack sales

reports collected, compiled, and provided by: IIIIH'

ARTIST TITLE

LABEL & NUMBERTCNSTRIBUTING LABEL

★ ★ No. 1 ★

KIRK FRANKLIN AND THE FAMILY •

COSPOCENTRIC2127/CHORDANT BwwksaINo 1

★

WHATCHA LOOKIN’ A

VARIOUS ARTISTS •

SMBGW i56ZCH0RDANi WOW-1997; THE YEAfTS 30 TOP CHRISTIAN ARTISTS AND SONGS

JARS OF CLAY ▲ ESSENTIAL S573/BRENTWOOD BB JARS OF CLAY

DC TALK A FOREFRONT 5UOCHORDANT

JESUS FREAK

POINT OF GRACE word 9694 LIFE LOVE & OTHER MYSTERIES

STEVEN CURTIS CHAPMAN SPARROW 1554/ChORDANT SIGNS OF LIFE

ANDY GRIFFITH •

SMRROW 144QCHOROANI BS 1 LOVE TO TELL THE STORY: 25 TIMELESS HYMNS

NEWSBOYS STARSONGO075A:mORDANT

TAKE ME TO YOUR LEADER

JACI VELASQUEZ myrrh 6995.'W0RD

HEAVENLY PLACE

BEBE & CECE WINANS sparrow 704aCH0R0ANT GREATEST HITS

SUSAN ASHTON SPARROW 145aCKOROANT QB

A DISTANT CALL

ANOINTED MYRRH 7O06.WORD QB

UNDER THE INFLUENCE

AVALON SPARROW 1465/CHOROANT BB

AVALON

(M)

CRYSTAL LEWIS myrrh 5036/word QB

BEAUTY FOR ASHES

RAYBOLTZ WORD 9641 B0 THE CONCERT OF A LIFETIME

OUT OF EDEN gotee 382&word bb

MORE THAN YOU KNOW

TWILA PARIS SPARROW 1518/CHOROANT

WHERE 1 STAND

VARIOUS ARTISTS WORD 9620 MY UTMOST FOR HIS HIGHEST

POINT OF GRACE WORD 9445 gg

THE WHOLE TRUTH

4HIM BENSON 4321 IS

THE MESSAGE

MXPX TOOTH & NAIL 1 D60*/DIAMANTC SB

LIFE IN GENERAL

RAY BOLTZ WORD 9937 |S

NO GREATER SACRIFICE

BRYAN DUNCAN myrrh 70O9/WOR0

BLUE SKIES

MICHAEL W. SMITH • REUNION 0106.WOR0

I’LL LEAD YOU HOME

AUDIO ADRENALINE FOREFRONT 5144/CHOROANT BLOOM

CARMAN • SPARROW 1422/CHORDANT

R.I.O.T.

RE ENTRY

VARIOUS ARTISTS HOSANNA' 10492/wORD

REVIVAL AT BROWNSVILLE

TAKE 6 WARNER ALLIANCE 46447/WCD

BROTHERS

THE BROOKLYN TABERNACLE CHOIR

WARNER ALLIANCE 46392WCD ■

FAVORITE SONG OF ALL

VARIOUS ARTISTS •

SPARROW 1516CH0RDANT WOW-1996; THE YEAfTS 30 TOP CHRISTIAN ARTISTS AND SONGS

DONNIE MCCLURKIN WARNER ALLIANCE 46297/WCO DONNIE MCCLURKIN

VARIOUS ARTISTS

WARNER ALLIANCE 46224AVC0 TRIBUTE - THE SONGS OF ANDRAE CROUCH

RON KENOLY INTEGRITY 10812/WORD |S

WELCOME HOME

(S)

NEWF^

TONY VINCENT STARSONG O099/’CHORDANT

ONE DEED

REBECCA ST. JAMES forefront sulchordant qq GOO

THIRD DAY REUNION Oil 7/WOROBB

THIRD DAY

THE KRY FREEDOM SAOSIAALACO

WHAT ABOUT NOW

RE-ENTRY

VARIOUS ARTISTS HOSANNA! 8952/WORO

SHOUT TO THE LORD

BOB CARLISLE Oiaoem 9691/BENSON bB

SHADES OF GRACE

RICH MULLINS REUNION 01 16AV0RD RB

SONGS

CD Records with the greatest sales gains this week. • Recording Industry Assn. Of America (RtAA) cer-
tification for sales of 500,000 units; ▲ RIAA certificatton for sales of t million units with each addition-
al million indicated by a nurmral following the symbol. All albums available on cassette and CD. *A$terisk
irnticates vinyl available. ■ indicates past or present Heatseeker title. ® 1997, Billboard/BPI Communica-
tions.

Artists & Music

by Deborah Evans Pi'ice

Changes at INTECJRITY: Mobile, Ala.-based Integiity Inc. has announce<l
the formation of two divisions. Executiw VP/COO Jerry Weimer says that the
company will now house the Integrity L^l Group and the Integiity Records
and Publishing Group.

I had been wondering where former Star Song VP of marketing and sales
Danny McGuffey would surface, and I’m happy to report that Integiity has
tapped him as senior VP/GM of the label group, which encompasses the exist-
ing labels Integiity Music, Hosanna! Music, Integrity Music’s Just for Kids,
and other distributed labels. The press release also hinted at “new labels yet to
be announced.” In addition to overseeing sales, marketing, creath'e services,
and strategic planning for the label group, McGuffey will spearhead the com-
pany’s Sony Ehstiibution relationship through Word/Epic.

Chris I.4)ng has been appointed senior VP/GM of the Integiity Records and
Publishing Group. Formerly VP of Integiity’s Creative Group and Music Pro-
duction, Long joined the label in 1994. The Record and Publishing division will
be responsible for overseeing all audio, video, and print product development,
song publishing, copyright administration, royalty accounting, and
busincss/legal affairs.

Long and McGuffey will report directly to Weimer. Among Integrity’s
upcoming releases are T.D. Jakes* “Woman, Thou Art Loosed! — Songs Of
Healing And Restoration,” due Feb. 11, as well as Uvo Women of Faith projects,
“Women Of Faith” and “The Joyful Journey,” which will be released March 4.

F OREFRONT GETS X-5TREAM; The staff at ForeFront is willing to make
sure Audio Adrenaline fans engage in lots of summertime fun. The second phase
of the promotional campaign for Audio Adrenaline*s Grammy-nomlnated
“bloOm” album is kicking into gear. Dubbe<i “Free Ride To An X-Stream Sum-
mer,” the campaign will include print ads; in-store pi*omotional materials; and
contests through video, radio, youth groups, and the label’s World Wide Web
site.

The prizes include three white-\A'ater I’afting trips (including airfare and hotel
accommodations), six Diamondback Soirento mountain bikes, nine Alien skate-
boai*ds, 500 Audio Adrenaline ski hats, T-shirts, autogi*aphed CDs, concert tick-
ets, backstage passes, and $3,500 in cash. In addition to consumers winning
prizes, retail employees haw a chance to win $250 if their name is on the win-
ning entry blank in the space provided for the assisting sales clerk’s name.
Youth gi'oups may win $2,000 to be used towai*d a summer mission ti’ip.

Foi’cFront will heighten awareness of the cami)aign via 500 fi\'e-foot floor
displays, which will contain “bloOm” and “Don’t Censor Me" CD and cassettes
as well as the longform video “Big House.” CDs and cassettes wall be stickered
w'ith $2 instant rebate coupons, and the video will be sale priced for $9.99.

News N(DTES: Family Bookstores has changed its name to Family Christ-
ian Stores, effective Monday (27). “The name change to Family Christian Stores
leaves no doubt about whose we ai*e and whom we serve. We w'ant to be o\'ert
about our service to Christ,” says chain president Les Dietzman. Another rea-
son cited is that the bookseller now carries music, children’s product, comput-
er software, gifts, cards, and apparel . . . Gaylord Entertainment Co. recently
completed its purchase of Word Records and Music, which began last Novem-
ber. According to a statement, the initial $1 10 million price increased to $120 mil-
lion due to “an unexpected seasonal increase in the working capital of the busi-
ness” . . . Bill Gaither’s Southern gospel music specials will once again be a
part of TNN*s programming lineup for 1997. Look for “Gaither Vocal Band:
Back Home In Indiana” on Sunday (1) at 10 p.m. EST This will be the first of
four new Gaither music specials on TNN this year . . . Guardian recently per-
formed several concerts in Chile, including one at Santiago’s largest maximum-
security prison and a live performance on “Extra Jovenes,” the Chilean version
of “MTV Dance Party" . . . Steven Curtis Chapman, BeBe & CeCe Winans,
and Christafari w^ere among the artists w'ho performed during the recent pres-
idential inauguration festivities.

EXECUTIVES WHO PAVED

(Continued from page 28)

Harris says that because the black
music business was just beginning to
take hold during the ’70s, there was
more camaraderie among black exec-
utives.

“A whole spirit of pride was there,
not just in the business, but ai'ound the
country,” he saj^.

Harris says that former RCA black
music head Buzzy Willis, former
Casablanca and Buddah executive
Cecil Holmes, and former Atlantic

THE WAY

executive Henry Allen, who was also
Cotillion Records president, were
among the influential black music busi-
ness pioneers.

Harew^ood cites former A&M exec-
utive Boo Frazier as a major player,
despite the fact that he was only a
regional promotion man at the time.
“He was a prime influence for me
because of his ability to get things
done,” Harewood says.

Tyrrell also credits Frazier and

Childs as key people in the develop-
ment of the Wack music executive. “Bw
knows the music business inside and
out and was able to interface with var-
ious departments in order to achieve
his goal in promoting records,” he says.

“Harold was another one," Tyrrell
says. “While much of his responsibili-
ty was in promotion, he had the ability
to work synergistically with other
departments, while remaining clear in
his objectives.”

Reach For The
STARS!
MOVING?
RELOCATING?

ARE YOU INTERESTED IN
RESIDENTIAL, COMMERCIAL
OR STUDIO PROPERTIES? BE
SURE TO READ THE ADS IN
THE REAL ESTATE TO THE
STARS CLASSIFIED SECTION
EVERY WEEK IN BILLBOARD

Los Angeles
Voices

The long
awaited
album
from
the

Grammy

Nominated

Choir

HOL 4224-2/4

Recorded Live at the
Tree of Life
Baptist Church
featuring:

“Power”

“Thank You Lord”
“Amazing Grace”
“Somebody
Somewhere”

AND MANY MORE

New album from a new
label setting a
new standard in
Gospel Music

Available, exclusively through

C'SSa

INTERNAnONAl

In the US contact
Customer Service at

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In Canada contact
Customer Service at

(416) 232-8111
HohUtOer

N^RO

BILLBOAflO FEBRUARY 1. 1997

3illb00pd. FEBRUARY 1, 1997

p Gospel Albums

THIS WEEK

1 WKS ON CHART

Compiled from a national sample of retail store and rack sales SoundScantt'
reports collected, compiled, and provided by IIIIIH

ARTIST TITLE

LABEL & NUMBER/DISTRISUTING LABEL

★ ★ No. 1 ★ ★

SOUNDTRACK

ARISTA18951 8 weeks at No. 1 THE PREACHER’S WIFE

KIRK FRANKLIN AND THE FAMILY • GOSPO IXNIRC 72127 WHATCHA LOOKIN' 4

BEBE & CECE WINANS SPARROW 37048'EMi GREATEST HITS

ANOINTED WORD 67804/EPIC UNDER THE INFLUENCE

FRED HAMMOND & RADICAL FOR CHRIST

BENSON 4320 B THE SPIRIT OF DAVID

DONNIE MCCLURKIN WARNER ALLIANCE 46297 DONNIE MCCLURKIN

YOLANDA ADAMS tribute lOOCVDiAOEM YOLANDA LIVE IN WASHINGTON

RICHARD SMALLWOOD WITH VISION

VERITY 43015 ADORATION: LIVE IN ATLANTA

GEORGIA MASS CHOIR SAVOY 7123/MAlaco GREATEST HITS

CECE WINANS SPARROW 51441 ALONE IN HIS PRESENCE

MISSISSIPPI MASS CHOIR

MALACO 6022 B I'LL SEE YOU IN THE RAPTURE

MIGHTY CLOUDS OF JOY INTERSOUNO 9226 LIVE IN CHARLESTON

(S)

V.I.P. MUSIC & ARTS SEMINAR MASS CHOIR verity 43014 gg STAND!

RON WINANS PRESENTS FAMILY & FRIENDS

SEUH 33205 FAMILY AND FRIENDS IV

THE FLORIDA A&M UNIVERSITY GOSPEL CHOIR

CtWHfKK TKMl CLARX-TtRRai PRINTS THE aCfiW AW UNIVERSITY GOSPEL CHOIR

HELEN BAYLOR WORD 67603/EPiC LOVE BROUGHT ME BACK

ANOINTED WORD6705I/CPICB THE CALL

(ID

FRED HAMMOND & RADICAL FOR CHRIST

BENSON 4008 THE INNER COURT

EDDIE JAMES & THE PHOENIX MASS CHOIR rRESHvmE923^vrTERSOUND GRACE

COMMISSIONED BENSON 4184 B IRREPLACEABLE LOVE

RICKY DILLARD'S NEW GENERATION CHORALE

CRYSTAL ROSE 20129/STARS0NG WORKED IT OUT

RE-ENTRY

BRODERICK RICE

BORN «WIM 1010 TOMMY FORD PRESENTS: BRODERICK E. RICE ALIVE ALIVE ALIVE

WANDA NERO BUTLER SOUND Of GOSPEL 223 ALL TO THE GLORY OF GOD

WALT WHITMAN AND THE SOUL CHILDREN OF CHICAGO

CGH61203 GROWING UP

YOLANDA ADAMS TRIBUTE 1359/OiAOEM B9 MORE THAN A MELODY

VARIOUS ARTISTS

BENSON 4272 SHAKIN’ THE HOUSE-LIVE IN L.A.

INNER CITY tysC0T16121(W:gi HEAVEN

HEZEKIAH WALKER & THE LOVE FELLOWSHIP CRUSADE CHOIR
BENSON 4168 B LIVE IN NEW YORK BY ANY MEANS...

NEW^

LOS ANGELES VOICES OF WATTS HOLYROLLER 4224 POWER

STEVE MIDDLETON & UNITY & PRAISE

PARADISE/TYSCOT 161218rtX5l PRAISES FROM THE SOUL

RE-E

NTRY

REV. CLAY EVANS MEEK 3995 I’VE GOT A TESTIMONY

RE-ENTRY

DOROTHY NORWOOD malaco 4476 SHAKE THE DEVIL OFF

COLORADO MASS CHOIR BENSON 4365 WATCH GOD MOVE

VARIOUS ARTISTS CGI 161090 GOSPEL'S GREATEST HITS

RE-ENTRY

LASHUN PACE SAVOY 14831 A WEALTHY PLACE

RE-ENTRY

CARLTON PEARSON WARNER ALLIANCE 46006 LIVE AT AZUSA

SPECIAL GIFT CRYSTAL ROSE 20126/STARS0NG SET TIME

DONALD LAWRENCE & THE TRI-CITY SINGERS

CRYSTAL ROSE 51480/STARS0NGB BIBLE STORIES

RE-ENTRY

THE JACKSON SOUTHERNAIRES

MALACO 6023 THE BROTHERS DREAM.. .ALIVE

DARYL COLEY

BEYOND THE VEIL: LIVE AT THE BOBBY iONES GOSPEL EXPLOSION XII

O f^wonls wKh the ^eatsst sales saris th6 vicek. • ReoMlne Industry Assa Of Amenca (RIAA) cat fiMli on tx sates of SOO.OOO irte
ARtAAcetefedronibrs^cn riittaiun6wtheachadditiTOlrri)tenincfc3lEdbyanurrmlUkMTtett«syrnt]0l.AlaRxrnsasQtettecn
cassette and CO. *Aste(iA irttotes vriirl Milatite B hdicates past or pnserit Heatseeter tittes « 1 99 7. EUteatiVBPI ConvTwncatcns.

LATIN NOTAS

(Contintied from page S8)

Boi BUM PLATING: December’s
unlikely — and only — platinum awardee
in Argentina is “Fiesta De Boi Bumba,”
by Brazil’s Carrapicho. Even more
unlikely is that another Brazilian act,
PolyGram Brasil’s Gera Samba,
notched a gold record for “E 0 Tchan.”
Following is the list of December cer-
tifications by CAPIF:

PLATINUM

“FiesUi De Boi Bumba.” (Carrapicho (BMG).

GOLD

“De^peciazuilo IVir Mii I^rtes," La KeriKa (I\>ly*

Gram).

“LdsCoaasQueVhteiN'’ Laura I*auaini (^Sbme^).
“Hasta Luego.” Los Kodrfguez (Warner).

“Into The Light," Phil Collins (Warner).

0 Tchan." (Jera Samba (PelyGram).

“Ahora Comicnza La Fiesta,” La Mona Jim4nez
(BMG).

“Fiesta Inotvidabtc,” La Barra (Son>').

Assintance m preparing this column
was p)'ovided by Enor Pakino in Sao
Paulo, Brazil, and Ramiw Burr in San
Antonio, Texas.

Artists & Music

by Lisa Collins

T HE GRAPEVINE IS ABUZZ with word of New
York-based Zomba Entertainment Group’s purchase
of Nashville-based Benson Music Group, a move that
would make Zomba and its gospel arm, Verity Records,
major players in the gospel marketplace.

“It’s exactly the positioning we want,” reports
James “Jazzy” Jordan, VP of marketing for
Verity/Jive Records. “We have made an offer, and it
has been accepted. We are working out the final
details, and it should be finalized by the end of the
month.

“We want everyone to know that we’re very serious
about having and delivering great gospel music,” adds
Jordan. “There are some great artists on [Benson].”
(Benson’s powerhouse roster includes Fred Hammond
& Radical For Christ, Hezekiah Walker & the Love
Fellowship Crusade Choir, Commissioned, Alberti-
na Walker, and Yolanda Adams.) Meanwhile, as exec-
utives work to iron out the final details, a working
structure is being determined. An official statement
is expected to follow.

On A ROLL: Malaco couldn’t be more excited about
the recent successes of Dorothy Norwood, whose 1995
release, “Shake The Devil Off,” sold more than 89,000
units, according to the label. “Dorothy is on a roll not
only as an artist, but as a producer,” reports Jerry

Mannery, who heads the label’s gospel division and is
in the midst of propping Norwood’s latest album for
release in March. Guest vocalists featured on the live
project include Albertina Walker, James Moore, and
Willie Neal Johnson.

Also on a roll is Hezekiah Walker, whose newest
project, “Live In London” (with the Love Fellowship
Crusade Choir), will be released March 11 (see story,
page 12). Early word is that the record is Walker’s best
thus far. Of course. Walker’s also quite proud of his
Brooklyn, N.Y.-based Love Fellowship church choir,
whose first album is slated for release in March, under
his production deal with the label. However, Walker
will have to decide on a name change for the church
ensemble, what with the names of his recording choir
and church choir being so much alike. And if all that —
in addition to his pastoral duties at his Brooklyn
church — weren’t enough, Walker is singing on the title
track of rapper Puff Daddy’s upcoming project, titled
“Thank You.”

Briefly: Daryl Coley is going back home to Oak-
land, Calif., to record his next live project. The record-
ing is set to take place Feb. 22, and while the label’s
not giving any specifics, some very special guests are
expected . . . Finally, Tramaine Hawkins recently
completed a stint co-starring in a Detroit stage pro-
duction of “Black Nativity” and is being featured in a
BBC gospel special that is set to air on cable in the U.S.
Feb. 5. Dissatisfied with the sales of her 1994 release,
“To A Higher Place,” Hawkins has since left Colum-
bia Records and is not under contract. Manager Lee
Magid reports that they are in negotiations with sev-
eral labels and that a deal is likely to be forthcoming.

wr/r//

rFTFR RATF, BLACK fflSTORY'MGNlil
with “LErS GOTOCHURCH” the
National Baptist Convention Mass Choir

The National Baptist
Convention
celebrates their
lldth Anniversary
i. • swjih their debut

; Itd^onal choir music

OQ^ some of gospel
' .1 yidhusies finest soloists.

^ ••'tv • -vl 51416 12402/A

In Stores January 28

BILLBOARD FEBRUARY 1, 1997 41

CopynghteO material

studio Action

ARTISTS & MUSIC

Ensoniq To Debut Paris System

128-Track Workstation Costs Less Than $3,000

■ BY PAUL VERNA

Raising the stakes in the world of
cost-competiti\'e digital audio \«)rksta-
tions, Ensoniq Digital Systems plans to
introduce Paris, a 128-track, 24-bit sys-
tem that offers state-of-the-art audio
recording and mixing at an unprece-
dented starting price of less than $J3,000.

The Paris package comprises the
Control 16 module, a 16-fader control
surface that allows users to access all
parameters of the Paris system; the
EDS-1000 card, a PCI slot that man-
ages all the audio inputs and outputs
and pixjvides processing |XAver to Paris;
and a line of audio plug-in boxes that
includes the Interface 2, Interface 442,
and Interface MEC modules.

The system includes the Control 16,
one EDS-1000 card, a cross-platfonn
CD-ROM loaded with software needed
to drive the system, and the Interface
422 — a single-rack-unit enclosure with
four independent pairs of audio inputs
and outputs and stereo digital inputs
and outputs. Further add-ons will be
available at prices yet to be determined
when Paris begins shipping this spring,
according to Ensoniq representatives.

The Control 16 features 16 channel
faders; a master stereo fader; rotary
controls for EQ, auxiliary sends, pan-

ning, and control-ixwm monitor level; a
high-resolution jog wheel that allows
precise editing; transport control but-
tons, including auto locate functions; a
numeric keyp^; and mute/solo buttons.

“This is the first major pro audio
offering from Ensoniq,” says Ensoniq
project leader John Senior. “And we’re
formed Ensoniq Digital Systems as an
umbrella for that effort, which is com-
puter-centiic pro audio equipment.”
Senior envisions Paris as a lower-
priced alternative to such digital
recording/editing systems as Digi-
design’s po])ular ProTools platform.

“From a features-set standpoint, it’s
clear that we’re ProTools competitors,”
he says. “From an economics stand-
point, we’re substantially less expen-
sive. That dimension of competition

might be someone who’s considering
dedicate{l hardware — i.e., a couple of
(Alesisl Adats and a mi.xer — and we
are very cost-competitive with that
approach. If you are looking for a solu-
tion to digital recording, oui’ solution,
combined with a reasonably priced
computer, is a very competitive alter-
native to two Adats, a mixer, a DAT
machine, and a rack of effects.”

Paris is the result of a joint-develo|v
ment program between Ensoniq and
Baltimore-based Intelligent Devices,
which developed the award-winning
AD-1 Pro Audio Analyzer, the new IQ
Intelligent Equalizer, the SES Speech
Extraction System, and other comput-
er-based audio applications for the pi’o
market

In addition to its 128-track capacity,
Paris offers built-in digital processing
options like reverb and compression,
four-band parametric EQ on every
channel, MIDI compatibility, automa-
tion, and a plug-in architecture that
allow's third-party developed to design
software applications for it. Further-
more, the system can interface digital-
ly with all leading formats — including
AES/EBU, SPDIF, Tascam, and
Adat— and accept SMPTE timecode.

“We have an interface to Adat and
(Continued on next page)

AUDIO TRACK

NEW YORK

At bear tracks in Suffern, N.Y.,
Spyro Gyra tracked a GRP album with
band member Jay Beckenstein pro-
ducing, Doug Oberkircher engineer-
ing, and Kristen Koerner assisting.
Also at Bear Tracks, Nenad Beach
mixed a self-produced NBM Produc-
tions project with engineer John Hol-
brook and assistant Kick Pohronezny.

LOS ANGELES

Skip SAYLOR hosted metal legend
Ozzy Osbourne, who mixed an Epic
Records project with producer Mark
Hudson, engineer Adam Kasper, and
assistant Rod Michaels; Death Row
act Six Feet Deep tracked and mixed
a set with producer Cody Chestnut,
engineer Chris Roberts, and assistant
Jason Mauza; Qvs'est Records artists
Tishina Arnold and Tisha Campbell

Following are guidelines for sub-
mis.*»ions of photographs, Audio Track
entries, and other material to Hill-
Iwanl’s Studio Action .section.

Photos must lie accompanied by a
caption that clearly identifies all indi-
viduals shown, listing complete
names, titles, affiliations, and all other
relevant information. Ftirthermore,
phott>s must include the name of the
studio where the ses.sion took place
and the lal)el for which the projcKrt wils
recorded (where applicable).

Photos may be submitted in any

worked on their upcoming album with
producer Ralph Hawkins and engi-
neer Mauza; EMI Music Publishing
songwriter Debra Cox tracked and
mix^ a single with pi*oducer G Man,
engineer AJ., and assistants Michaels
and Lacreatia Brown.

At Scream Studios in Studio City,
Chaka Khan worked on her contribu-
tion to a Joni Mitchell tribute album
with producer Larry Klein and engi-
neer Tony Phillips. Also at Scream,
Elektra artist Nanci Griffith mixed an
upcoming album with producer/engi-
neer Don Gehman. Doug Trantow
assisted on both projects ... At Canyon
Studios in Laguna Beach, Lee Rocker
of Stray Cals fame reconled and mixed
three songs with engineer Mike
Hatcher; Missiles Of October put fin-
ishing touches on an upcoming album
with engineer/producers Michael
Douglas and Alex Reed; Marcille
Block overdubbed and mixed a live

are preferred. Billboard does not
ixturn photo.s unless a pitor arrange-
ment has l)een made to do so.

Material for Audio Track mu.st
include name and location of the .stu-
dio; names of artist, pnKlucer, engi-
neer. assistant engineer, and other
peraonnel relevant to the recording
session; name of lal)el: and o(juipment
highlights of the studio in cjue.stion.
Pk'a.se E-nmil or fax material to the
numbera lisU*d at the end of the col-
umn (see page 48).

album with Calvin Rhone producing
and Hatcher engineering; Deal Wright
overdubbed an Awanl Records project
with producer/engineer Hatcher; and
Gina Quartaro worked with produc-
er/engineer Mark DiLorenzo.

NASHVILLE

At the music mill, Sheme

Austin worked on an Arista project
with producers Ed Seay and Will
Rambeaux and engineer Dean Jami-
son; Shana Petrony overdubbed for a
Sony Music project with Paul Worley
and Alex Torrez producing and Tony
Castle engineering; and Johnny Pay-
check and B J. Thomas tracked and
orerdubl)ed for I^mon Square Produc-
tions with producers Bail Barton and
Brian Fisher and engineers Marty
Williams and Chris Rome ... At the
Castle, the Thompson Brothers Band
is tracking and orerdubbing with pro-
ducer Bill Lloyd (of Foster & IJoyd)
and engineering by Mike Purcell and
Rob Feaster, assisted by Dennis
Cronin and Paula Montondo.

(Continued on next page)

FOR THE RECORD

A caption in the Jan. 11 issue
misstated Mall Wiillace’s role In the
recording of C'hantal Kreviazuk’s
debut album for Columbia Records.
Wallace is a producer on the pro-
ject, along with Peter Asher. In
addition, Wallace engineered and
mixed the album.

SUBMISSIONS GUIDELINES

format, but black and white print.^*

Hail Caesar. Evangelist Shirley Caesar and Bishop TD. Jakes worked at Integri-
ty Music Studios in Mobile, Ala., on vocal sessions for Jakes’ “Woman, Thou Art
Loosed! — Songs Of Healing And Restoration" project. Shown standing, from

left, are video producer Michael Mack, video director Dale Hill, Integrity VP of
creative Chris Long, Caesar, and Integrity senior manager of production Steven
Tyrell. Seated, from left, are Jakes, producer Steven Ford, and co-producer Mar-
cus Wade.

newsline . . .

THE EMI GROUP has taken out a $20 million lease to finance the acquisition of
CD-manufacturing equipment for its Jacksonville, 111., plant according to a
joint statement from EMI and Sumitomo Bank Leasing and Finance Inc.,
which structured the deal.

SONIC SOLUTIONS’ SonicStudio recording/editing system was put to the road
test last month by Grammy-winning band Asleep At The Wheel, which record-
ed dates in Las Vegas Dec. 6 and 7 directly to a SonicStudio workstation. The
sessions — ^which are planned to be released as a live album on a Sony Music
label — were recorded by Bismeaux, Asleep At The Wheel leader Ray Ben-
son’s Austin, 'I\ 2 xas-bas^ production company.

NIMBUS' 3-D ID HOLOGRAM CD-printing process was recognized by the
National Academy of Recording Arts and lienees with an album package
Grammy nomination for Marshall Crenshaw’s Razoi* & Tie album “Miracle Of
Science.” A statement from Razor & Tie says that the album “marked the
first time in the U.S. that CD artwork has been specifically commissioned for
use with 3-D kl holographic technologj^ to showcase a compact disc. The unique
concept includes an outer package with a front cover which allows (designer
Stefan) Sagmeister’s holographic design on the disc to l>e visible from the
outside.”

BRIEFLY: Digital audio and video network s|)ecialist EdNet and video tele-
conferencing provider PictureTel Corp. have reached an agreement to offer
video conferencing services to EdNet’s entertainment industry clientele . . .
Scott BartletL VP of the Custom Entertainment Group at Sony Disc Manu-
facturing, has been elected VP and member of the executive committee at
the International Recording Media Assn. (ITA) . . . Pluto Technologies, known
for the Space Digital Disk Recorder, has gone online. The company’s World
Wide Web .site is httpy/www.plutotech.com. Space caters to post-production
and broadcast clients. The company has also named Dan Cole VP of market-
ing and business development He was VP of systems marketing for Sony
Electronics . . . I^os Angeles-based studio acoustic.s/architecture firm Studio
440 is now on the Web at httpy/www.studio440.com.

Maximum Ampage. Los Angeles hard rock quintet Ampage worked on its
debut album at Cherokee Studios in Hollywood, Calif., with producer Duane Bar-
ron (Ozzy Osbourne, Motorhead, Heart). Shown, from left, are lead guitarist
Louren Molinare, rhythm guitarist Jason Carroll, Barron, lead vocalist/bassist
Mark Mason, and engineer Jeff Claven. The album, “Iron Horse," was released
on Los Angeies-based Higher Source Records, distributed by Navarre Corp.

BILLBOARD FEBRUARY 1. 1997

CopynghtM ma'

studio Action

ARTISTS & MUSIC

ENSONIQ TO DEBUT PARIS SYSTEM

(Continued ^from preceding page)
Taseam digital, and we are also file
compatible with previous formats such
as Sound Designer, so you’ll be able to
bring projects into this environment for
editing from a variety of sources,” saj's
Senior.

Capable of receiving and outputting
24 bits of digital audio, the Paris sys-
tem functions at selectable sampling
retes of 44.1 kilohertz or 48 kHz.

Besides serving as a stand-alone
hard-disc recording system, Paris is
designed to provide advanced editing
features for sound assembly and mas-
tering. “That’s the strength of Intelli-
gent Devices’ experience with digital
audio workstations,” says Senior. “The
(Paris] editor is very full featured and
v'ery fast. It’s intended to be compati-
ble with music, post-production, an<l all
professional applications for digital
audio.”

The Paris system allovv's the user to
access audio tracks in clustere of 16 at
a time using a system of "transparent
submixing,” according to Senior. He
says, “There are eight 16-channel sub-
mixes, and you can woi'k on a 16-chan-
nel submix at any given time. That sub-
mix is always computed in real time,
and when you move to the next submix,
the system builds an invisible two-ti*ack
image of the one you’ve already done
and plays it back along with the new
one.”

Senior adds, “The idea is you start
out with a package with the same fea-
tures as the maximum, but the real-
time power and the [input/outputl
I>ower and the effects power is scalable
based on your investment. You learn

the same paradigm and the .same set of
rules regardless of where you enter.”
Senior says initial response to the
unit — unveiled at the recent National
Assn, of Mu.sic Merchants convention

AUDIO TRACK

(Continued fwm preceding fxige)

At MasteiTonics, Megadeth mixed a
Capitol project with producer Dan
Huff, engineer Jeff Balding, and assis-
tant Mark Hagen; Blake & Brian
mi.\ed for Curb Records with pmlucer
Chuck Howard, engineer Csaba
Petocz, and assistants David Hall and
John Thoma.s; and Jack Ingram mixed
for Rising Tide with producer Emory
Gordy Jr., engineer Steve Marcanto-
nio, and assistant Thomas.

OTHER LOCATIONS

X HE BEE GEES finished mixing
tracks from their forthcoming reunion
album with pix)ducer Hugh Padgham
at Criteria I^ording Studios in Miami.
Padgham worked with engineers John
Merchant and Chris Carroll.

At Different Fur Recording in San
Francisco, Harvey Mandel self-pro-
duced a set for Electric Snake Produc-
tions with engineer Steve Savage and
assistant Adam Munoz; Rinde Eck-
hert mixed for City of Tribes with pro-
ducer Lee Townsend, engineer Judy
Clapp, and assistant Mark Slagle;
Katherine Chase mixed for Marquee
Music with pitxlucer Jeffrey Wood, en-
gineer Munoz, and assistant Anne Ma-

in Anaheim, Calif.— has been extreme-
ly jwsitive, with third-party developers
flooding the Ensoniq booth.

“People have been buying into the
vision,” he says. “They see this as a

ria Scott; and bluesman Tommy Cast-
ro mixed for Blind Pig with producei*/
engineer Jim Gaines and assistiint Miui-
oz . . . Garth Michael returns to a staff
engineering spot at Sheffield Audio-
Video Productions in Phoenix, Md.

At Pedernales Studio in Austin,
Texas, Justice Records president Ran-
dall Ramail produced Sup Pop act
Supersuckers with engineer Larry
Greenhill, and new Justice signing
Carolyn Wonderland & the Imperial
Monkeys with engineer Peter Denen-
berg and assistant Greenhill. At the
neighboring Arlyn Studios, Epic
Records duo Indigo Girls worked on a
self-produced project with engineer
Dave Leonard and as.sistant Mark
Friggo; .Marcia Bali worked on a
Rounder Records album with produc-
ers Derek O’Brien and Mark Kaz-
enoff and engineer Stuart Sullivan;
and Texas Johnny Brown worked on
an Antone’s Records session with pro-
ducer O’Brien and engineer Sullivan.

Please send matetnal for Audio Track
to Paul Verna, Pro Audio/Technology
Editor, Billboard, 1515 Rtmdmiy New
York, NY. W0d6; fax: 2I2-5i)6-5S58;
E - nmit PVe rna(fi b illboanlg map. com.

PRODUCTION CREDITS

BILLBOARD’S NO. 1 SINGLES (JANUARY 25, 1997)

category

hot 100

R&B

country

ADULT TOP 40

MAINSTREAM ROCK

TITLE

Artist'

Producer

(Label)

UN-BREAK MY HEART
Toni Braxtoa'

David Foster
(LaFace/Arista)

DON’T LET GO (LOVE)
En Vogue;

Organized Noize
(EastWesVEEG)

NOBODY KNOWS
Kevin Sharp/

C. Farren
(Asylum)

DON’T SPUK
No DoubV
Matthew Wilder
(Traumainterscope)

BLOW UP THE OUT-
SIDE WORLD
Soundgardea'
Soundgarden
(A&M)

RECORDING

STUDlOiS)

Engineers)

CHARTMAKER
STUDIOS
(Los Angeles, CA)
Felipe Elgueta

DOPPLER RECORDING’
THE RECORD PLANT
OUlanta, (k'Los Angeies. CA)
Blake Eisenmaa'

Neal H. Pogue

EMERALD STUDIOS
(Nashville. TN)

Ed Seay

GRANDMASTER
RECORDERS
(Hollywood. CA)
Phil Kaffe!

STUDIO LITHO/BAD
ANIMALS
(Seattle, WA)

Adam Kasper

RECORDING

CONSOLE(S)

SSLA4000

SSL4000E'

SSL4000a'4080G+

SSL4064E

Neve 8028

Custom API/

SSL4064G + UWmation

RECORDER(S)

Sony 3348

Otari MTR 90/
Studer A800

Sony PCM 3348

Studer A827

Studer 800/827

MASTER TAPE

Ampex 467

Ampex 499/
3M 996

Ampex 467

Ampex 499

MIX DOWN
STUDIO(S)
Engineer(s)

BARKING DOCTOR
(Mt. Kisco, NY)
Mick Guzauski

THE RECORD PUNT
(Los Angeles, CA)

Neal H. Pogue

SCHNEE STUDIOS
(N. Hollywood, CA)
Bill Schnee

CACTUS STUDIOS
(Hollywood, CA)
David Holman, Paul
Palmer

BAD ANIMALS
(Seattle, WA)
Adam Kasper

CONSOLE(S)

SSL4000G with AT&T
Oisq Digital Mixer Core

SSL4000&4080G+

Schnee Custom Made

Custom

SSL4064G
- 1 - Ultimation

RECORDER(S)

Sony 3348

Studer A800

MCI JH24

Stephens 821B

Ampex ATR 100

MASTER TAPE

Ampex 467

3M996

Scotch 996

3M996

Ampex 499

MASTERING

Engineer

HIT FACTORY
Herb Powers

HIT FACTORY
Carlton Batts

GEORGETOWN
MASTERS
Denny Purcell

CMS DIGITAL
Robert Vosgien

A&M

Dave Collins

CD/CASSEHE

MANUFACTURER

8MG

PDO/HTM

UNI

PDO/HTM

O 1997. Billboard/BPI Communications, Hot 100. R&8 & Country appear in this feature each time; Mainstream Rock. Modern Rock. Rap, Adult
Contemporary. Club Play, and Dance Sales rotate weekly.

Marian Anderson Recalled;
Riffling With Philip Glass

SaLUTE: Nimbus’ Prima Voce label
is marking Black History Month in
February with the release of “Marian
Anderaon: Oratorios And Spirituals.”
The disc includes selections from can-
tatas and oratorios of Bach and Han-
del, plus 11 spirituals recorded by the
renowned American contralto be-
tween 1936 and 1946. Anderson came
to national attention in 1939, when the
Daughters of the America Revolution
(DAR) refused
to let her sing
at Constitution
Hall in Wash-
ington, D.C.;

Eleanor Roo-
sevelt resigned
from the DAR
in protest, and
Anderson was
invited to sing
at the Lincoln
Memorial. In 1955, she became the
first black artist to perform at the
Metropolitan Opera.

The Jan. 7 release also coincides
with Anderson’s centennial, which
will be celebrated with a Carnegie
Hall gala Feb. 27. Sylvia McNair,
Jessye Norman, Florence Quivar,
Denyce Graves, Andr4 Raphel
Smith, James DePriest, and Isaac
Stern are scheduled participants.
Carnegie Hall has also mounted a ret-
rospective exhibit on Anderson’s life
and 70-year career and will sponsor a
professional development workshop
for teachers, “The Life And Music Of
Marian Anderson,” Feb. 22.

Computer sales: David Finck-

el, cellist of the Emerson String
Quartet, and pianist Wu Han have
launched ArtistLed, a new CD label.
The recordings will be sold on a
World Wide Web site (www.artistled.
com), which also provides background
information on the recordings and
artists. The label’s first CD, with
music for cello and piano, includes
Grieg’s Sonata in A minor; Schu-
mann’s Adagio and Allegro, Op. 70;
and Chopin’s Sonata in G minor. The
disc is available with the purchase of
the January 1997 BBC Music Mag-
azine; it will be sold on the Web site
in the future.

Two new recordings will be avail-
able through the Web site beginning
Saturday (1). One features sonatas of
Franck and Strauss; the other has
Tchaikovsky’s piano trio and Kod6-

ly’s duo for violin and cello. The
recordings were made in New York-
area churches and at the American
Academy of Arts and Letters. The
sound engineer, Da-Hong Seetoo, is
also a violinist. Finckel and Han, who
are married to each other, make their
New York debut as a duo at the 92nd
Street Y March 1.

Make YOUR OWN: Philip Glass
has o’eated and
recorded music
for Rifff, a
mu.sic show on
the Microsoft
Network that
allows partici-
pants to impro-
vise their own
variations on
music by well-
known musi-
cians. Glass will be featured on Rifff
Feb. 7-13. The composer will chat live
with fans Feb. 13 at 9 p.m. EST, as
well as answer E-mail, and partici-
pants will be able to alter the tempo,
instrumentation, and style of Glass’
music online.

Chopin in the heartland:

Radio station KXTR Kansas City,
Mo., got an enthusiastic response to
its weeklong promotion offering
tickets to Emanuel Ax’s perfor-
mance of Chopin’s second piano con-
certo with the Kansas City Sym-
phony in January. The station gave
away 12 pairs of tickets, plus a
grand prize of tickets and dinner
with the pianist after the perfor-
mance. The winner brought along
her 10-year-old piano student son.
KXTR PD Don Crawley plans more
such events.

H ONEST DEAL: Allegro Corp. has
signed a distribution agreement with
the Nashville-based independent
label Honest Entertainment for the
classical, jazz, and world music titles
of Honest/LINN Records in the U.S.
and Canada. The Scottish label
LINN Records focuses on early
music. Its first release under the
new distribution agreement will be
Musica Da Camera, directed by
Robert King, performing Albi-
noni’s Adagio for Organ and
Strings, along with PachabePs ubiq-
uitous canon.

KEEPING

SCORE

btj Heidi Waleson

BILLBOARD FEBRUARY 1. 1997

Copyrighted material

Songwriters & Publishers

ARTISTS & MUSIC

Zomba Holds Its Own As Int’l Player

Co. Plays To Its Strengths In Face Of Competition

m BY NIGEL HUNTER

LONDON — Competing with the big
boys holds no horrors for Steven
Howard, managing director of Zomba
Music Publishers. He asserts that a mix-
ture of aggi*essiveness, entrepreneurial
ability, an uncom-
plicated chain of
command, and the
ability to make
swift decisions has
kept Zomba high
profile and prof-
itable as an inter-
national player.

“Margins have
been reduced,”
Howaixl says, “and it’s as comj)etiti\'e as
ever. The giant conglomerates will
always be ^ere, and you ha\« to learn
to deal with that fact. One of our
strengths is the internal synergy
between the Zoml)a companies.

“We have offices in New York, Los
Angeles, and Nashville,” he continues.
“There’s an office in Holland, the Far
East, and several library offices around
the world. We have a presence in all the
major territories, and this is another
way of competing with the multina-
tional conglomerates. We are subpub-
lished in several territories by BMG
Music Publishing. It’s a strategic
alliance with a healthy dialog, and they
treat our catalogs and our requests
with the utmost respect.”

Howard began his publishing career
with two years at Chrysalis Music
before joining Zomba 18 years ago. He
defines Zomba's policy as seeking a
bread re}>ertoire base, with A&R exec-
utives who ai*e trained in business skills
as well as being able to s|)ot talent and
opportunities at an early stage.

“We’re continually head to head with
the majors in finding and signing tal-
ent,” Howai’d says. “We were compet-
ing with several majors for the pub-
lishing on the Virgin act Daft Punk,
and we won. A lot of conglomerates are
obsessed with market share, but we’re
not. Our concern is profitability.

“We like to make our deals as com-
petitive as possible, and writers who
are interested in other areas rather
than just financial will pick us because
they’re confident that we can exploit
their work better. There’s a reassuring
stability about the key executives at
Zomba, too. The average length of ser-
vice is 10 years, and that’s good for
writers and artists signing to the com-
pany. Where the m^ors are concerned,
it’s often a case of the new head com-
ing in with his team and [having] per-
haps three years to prove themselves
before the next upheaval.”

In How'ard’s assessment, this execu-
tive stability, combined with a facility
for quick decisions and a positive pres-
ence in m^or world markets, appeals
to independently minded companies as
well as individuals. He cites a deal with
Grever Music of Mexico as an example;
it’s an entry for Zomba into the increas-
ingly important Latin music market.

Frequent contact with Zomba per-
sonnel around the world helps secure
new acts, he says. “Martin Dodd in Hol-
land identified and signed the Rednex
with no hesitation or second-guessing

from other Zomba colleagues, and con-
se(}uenlly we were able to work their
‘Cotton Eye Joe’ in every' major terri-
tory. It made No. 1 in the UK. and most
other markets and went top 20 in the
States.”

Howard sees the coming prolifera-
tion of digital TV channels as ultimate-
ly prefitable for publishers. “There will
be an initial chai*ade — with broadcast-
ers not wanting to pay more than a min-
imal sum foi* music usage, arguments,
and standoffs — and then it will all be
sorted out by the collection societies.

“We deal with a lot of broadcasters
and find that all of them respect copy-
right principles and are prepared to
pay a foil* sum for what they use. Nev-
ertheless, some producers leave the
music budget till last in their plans and
then try and cut a corner on its costs.”

Zomba administers the music pub-
lishing intere.sts of the U.K.’s Channel 4
and will be doing the same for the
nascent Channel 5, due on the air this

■ BY STEVE TRAIMAN

NEW YORK — ^Bob Mai’ley continues to
e.\pand his legacy through his music,
his pix)geny, and the latter’s global reg-
gae chai't activity. Equally important is
a rapidly growing multimillion-dollar
merchandising-licensing program for
his titles, with music royalties tracked
by a Trademark Wizard computer soft-
wai’e pregram.

On Billboard’s year-end Top Reggae
Artists list, Bob Marley & the Wailei*s
were No. 3, and Marley himself had the
No. 6 slot, with three charted album.s.
The Marley/Wailers’ “Natural Mystic”
was No. 3 on the Top Reggae Albums
list, while Marley’s “Soul Almighty —
The Formative Years Vol. 1” took the
No. 9 spot.

New York City-based Tuff Gong
International, the recently established
U.S. arm of Cedella Marley’s Tuff
Gong label and video company in
Kingston, Jamaica, is thriving. There
have been sold-out tours, video produc-
tions, well-received releases from
Magic Marley tours and singer Yvad,
and releases from Junior Gong and
Julian Marley, the newest members of
the Marley clan to bust out (Billboard,
Dec. 28, 1996).

“All this activity has dramatically
expanded the [music] licensing
demands for all types of Marley-relat-
ed merchandise,” says Stephanie
Levine, licensing director for Bob Mar-
ley Music Inc., which was set up by the
Marley estate to handle this activity.
“We now have more than 60 licensees
around the world for everything from
T-shirts and posters to calendars and
collectors’ cards.”

With a growing number of licensees
and an urgent need to keep track of
royalties, Levine came across Trade-
mark Wizard, which was developed
several years ago by Licensing Soft-
ware International (LSI) in Lincoln,
Neb. While it was being pitched to a

spring. It has similar links with three
regional TV stations in the U.K. and
with Aardman, the “Wallace And
Gromit” company, and Mark McC>)rma-
ck’s Trans^vorld International spoiTs-
bi*oadcasting enterprise. Howaixl values
the Channel 4 connection in particular,
because the company is now the major
morie producer in the U.K.

The Zomba Group also encompasses
record labels (Jive, Silvertone, Verity,
and Internal Affairs); Battery Record-
ing Studios (six in London, four in New
York, two in Nashville, and one in
Chicago); Dreamhirc and Hilton Sound
pro audio equipment rentals; Zomba
Management (repre.senting i*ecord pro-
ducers of the caliber of Robert “Mutt”
Lange, Stephen Lipson, Mike Peden,
and Simon Efemey); library music
(including the Chappell, Bruton, Firat-
com, and Southern/peer International
catalogs); and the Windsong/Pinnacle
Group, comprising record labels, dis-
tribution, and export/imiwrt.

number of smaller music publishers
and independent labels at the 1995
Licensing Expo in New York, she saw it
as a })Otentially useful royalty tracking
tool.

After all infonnation regarding each
licensee is input, the software allows
the transfer and use of the data in var-
ious ways.

This includes creating a much-need-
ed contract summary and various
reports, including both a domestic
licensee and foreign licensee document
These are further broken out for cur-
rent licensee only or current and
expired licensee. Also included in the
program are “infringer” reports, with
a choice for either domestic or interna-
tional.

“This enables us to keep current on
contract renewals and print out an
updated licensee list in an instant,”
Levine says. “Not only does this permit
us to act as a one-<iepartment licenser,
but also as a contract management
paralegal department. We can issue
tracking and licensing summaries and
generate contracts and linked corre-
spondence.”

While noting that Bob Marley Music
has its own in-house royalty depart-
ment, which is also looking at aspects
of Trademark Wizard for its o^^m use,
Levine says that the licensing depart-
ment inputs its own royalties and main-
tains its own system. loyalty payments
are posted each quarter, with the infor-
mation used to create other reports.
These include a trademark licensing
summary on year-to-date revenue for
each licensee, covering the period from
the first of the year to the date on the
rerenue reports screen.

At last June's Licensing '96 expo at
the Javits CJonvention Onter here, LSI
president Walter Webb and Jim Sim-
oens, VP/director of sales, addressed a
number of music publishers and inde-
pendent labels about Trademark Wiz-
ard’s royalty applications.

HOWARD

Royalty-Tracking Software
Used For Marley Product

rsio- 1 sc^i

: DITTS

THE HOT 100

UN-BREAK MY HEART • Diane Warren • Realsongs/ASCAP

HOT COUNTRY SINGLES & TRACKS

NOBODY KNOWS • Joe^h Richards/Don DuBose • Hitco/BMI. Joe Shade/BMI,
Longitude/BMI. D'Joneonge/BMI, EMI Blackwood/BMI

HOT RAB SINGLES

I BEUEVE I CAN FLY (FROM “SPACE JAM")* R. Kelly • Zomba/BMI, R. Kelly/BMI

HOT RAP SINGLES

CANT NOBODY HOLD ME DOWN • Sean “Pu^” Combe. S. Jordan. Carloe Broady,
Nashlem Myrick, M. Betha, G. PrestopIno.'M. Wilder, S. Robinson • Justin
Combs/ASCAP, EMI Aprll/ASCAP, Amani/ASCAP, July Six/ASCAP, NASHMACK/ASCAP,
M. Betha/ASCAP, Buchu/ASCAP, No Ears/ASCAP

HOT LATIN TRACKS

ENAMORADO POR PRIMERA VEZ • Enrique Iglesias* Fonomusic/SESAC

New Hall Of Famers Named;
peermusic’s New Taiwan Office

I ALL OF FAMERS: The Song-
writers Hall of Fame will induct five
new meml)ers when its 28th annual
dinner takes place June 10 in New
York. The inductees, and their
respective categories, are Joni
Mitchell, international; Phil Spec-
tor, national group, post-1955; Har-
lan Howard, national group, pre-
1955; and Ernesto Lecuona and
Jimmy Kennedy, posthumous cate-
gory. According to the Hall of Fame,
Lecuona and Kennedy were tied in
the voting by the members of the
academy.

PeERMUSIC TAIWAN: Peermu-
sic has set up an office, called peer-
music Taiwan, in the Pacific Rim,
making it the 26th territory in which
the publisher has its own represen-
tation. The company will be managed
by Leslie Mok, who comes on board
from a senior

position at Tai-
wan’s Rock
Records, where
he was as.sociat-
ed with such
successful acts
as Leslie Che-
ung, Winnie
Shin, and
Karen Mok.

He reports to Elsie Lau, who is
responsible for peermusic’s o|)eration
in the Asia-Pacific ... In another
development, peermusic has estab-
lished a Rock-en-Espanol section for
its Internet site (www.peermusic.
com). Currently, it is featuring the
latest recordings by Jaguares,
Fobia, La Lupita, Maria Fatal,
Orixa, Pastilla, and Ley Dc Hielo.

Cephas global ties: Cepha

Music and Publishing, the Los Ange-
les-based company formed in the
mid-’50s, has negotiated an interna-
tional sublicensing deal with U.K.-
based old-line music publisher Camp-
bell Connelly & Co. Ltd. Along with
Tide Records, Cepha was responsi-
ble for R&B artist Larry Bright,
whose ’60s songs “Natural Born
Lover,” “Twinkie Lee,” and “Mojo
Workout” were successes. Bright is
working on “Larry Bright’s Greatest
Hits — Vol. 1,” set for release early
this year.

According to Cepha VP of mar-
keting Kevin Jenkins, Cepha is
accepting and reriewing new' mater-
ia) for publishing both domestically
and internationally. Cepha also nego-

tiates the rights of artists’ music for
use in film and TV

Still a treasure: “Once

Upon A Mattress,” the 1959 Mary
Rodgers and Marshall Barer musi-
cal that has been revived on Bi'oad-
w'ay; is fondly remembei'ed as Carol
Burnett’s claim to comic fame. Ix>st
within that happy memory, it seems,
has been its unfailingly tuneful
melodies and deft lyrics. With talent
to spare, the 1959 show recalled the
heyday of musical comedy.

The rerival, w-hich does not need to
make a star out of Sarah Jessica
Parker (she already is an e.stablished
one), was kicked in the face by mast
critics, w'ho either cited the score in
bland terms or treated it with indif-
ference.

To us, that’s strange. In just two of
many examples, there is a sly roman-
tic number, “In

Words & Music

by Irv Lichtman

A Little While,”
and a robust
“place” song,
“Normandy,”
that remain as
fresh and in-
ventive as erer.
Words & Music
thought it w’as
a swell show.
Gratefully, we’ll soon get this all on
disc when RCA Victor releases the
cast album. Until that comes along,
the original-cast disc on MCA makes
the point very well.

RiTTOR VIDS via WARNER:
Warner Bros. Publications is now'
the exclusive distributor of Rittor
Music’s line of music instruction
videos for all territories outside
Japan, where Rittor is based. The
music print giant also owns or dis-
tributes such other video instruc-
tion lines as DCI, REH, and Inter-
world. The initial releases under the
new' deal include John Myung’s
“Progressive Bass 0)ncepts,” Mike
Portnoy’s "Progressive Drum Con-
cepts,” and “The Essential Marty
Friedman.”

Print on print-. The follomng

are the best selling folios from Cher-
ry Lane Music:

1. Metallica, “Load.”

2. Bush, “Sixteen Stone.”

3. Soundgarden, “Down On The
Upside.”

4. Dave Matthews Band, “Crash.”

5. Sepultura, “Roots.”

BILLBOARD FEBRUARY 1. 1997

Copyrighted material

ith this issue, Biliboard iaunches its series of Latin Music Quarterlies, as part of our ongo-
ing effort to provide the most complete coverage of news and trends in the recording
industry of Latin America. Each of the four Quarterlies will contain not only in-depth arti-
cles that examine the business aspects of the Latin American recording industry, but also timely
information concerning the area's artists and their music. We hope this magazine-within-a-
magazine will become a valuable asset to our readers who wish to acquaint themselves better
with one of the fastest-growing music markets in the world.

— John Lonnert, Latin America/Caribbean Bureau Chief

PIRACY Update:

Is Progress Being Made?

Answer: Yes. But can holograms and aggressive trade-campaigns
keep the beast at bay without Latin government participation?

BY JOHN LANNERT

I n the past decade, there has been no element of the
record industry in Latin America that has caused more
concern and consternation than record piracy.
According to industry observers, the annual bite that
counterfeiters take out of the legitimate record business in
Latin America amounts to $800 million to $1 billion.
Illegal cassette sales account for the lion’s share of the
booty raked in by increasingly well-financed and
well-managed piraieers.

Worse still, say knowledgeable sources in the
business, is that if these pirate operators are
not shut down— or at least contained —
the industry could be hit with pirate
CDs.

That dreaded development would
sound the death knell of the Latin
music industry, concur the area’s top
executives.

Help seems to be on the way, howev-
er.

In the past year, a Miami-based Ladn
American regional trade association
called FLEXO has set up anti-piracy
outfits in nearly every Latin American
country to more closely monitor anti-
pirate activity, as well as enlist the sup-
port of the national governments with
anti-piracy initiatives.

So far, says FLEXO execudve presi-
dent, Gabriel Abaroa, the and-piracy
groups have conducted 110 raids,
which have netted 4.5 million cassettes.

“I believe the campaign is working,”
declares Abaroa, “because sales of legal
cassettes did not fall this year, and they

According to
industry observers,
the annual bite that
counterfeiters take out of
the legitimate record
business in Latin America
amounts to $800 million
to $1 billion.

should have, because people have less
buying power, and we nave many more street vendors sell-
ing counterfeit cassettes.”

Indeed, in Mexico, perhaps the country with the most
ambulantes, or street vendors, the 13 million units of legal
cassettes sold in the first half of 1996 matched the total sold

in the same period one year earlier.

In addition, FLEXO has initiated a hologram campaign
that will help ideniif)' illegitimate product in the market-
place.

GETTING GOVERNMENT INTO THE GAME

Their anti-piracy efforts notwithstanding, Abaroa
and Latin America’s industry players agree that
piracy cannot be stamped out or arrested with-
out the backing of Latin American countries.

“What we are trying to do,” says
Abaroa, “is to convince the [Latin] gov-
ernments that they have to pitch in
and help us. What frustrates me most
is that, in three or four years, we have
not found a willingness on the part of
the governments to fight piracy.”

Why are Latin American governments
reluctant to actively take part in anti-
piracy thrusts? One reason given by
industry insiders is that Latin govern-
ments fear if they deprive ambulanies
who are selling illegal cassettes the
opportunity to hawk their wares, there
would be social unrest.

Another more sinister answer may
be that individuals inside these gov-
ernments may be involved with pirate
operations, many of which are sus-
pected of having ties to drug cartels.

While Jay Berman, chairman/CEO
of the Recording Industry Assoc. Of
America (RIAA), says he is optimistic
that FLEXO’s and-piracy units eventu-
ally will ferret out the big-dme opera-
tors, he adds that “The real quesuon is

whether [Ladn governments] are going to move against
the people who nave been idendfied as being the people
who have the capacity to produce [counterfeit product].”

Berman posits that the combined efforts of the and-

ConHnued on page LAfQ-4

Record Companies Fess Up;

Plans To Reveal
Official Sales
Data Disclosed

Accurate Numbers Are
Key To Legit Growth

T he Age of Accountability finally may have arrived in the
Latino record business.

After years of fruidess conjecture and frustradng guess-
work regarding the size and activity of the Ladno markets,
upper-rank executives represendng the major multina-
tionals’ Latino regions have concurred that otticial sales
figures be submitted tor public consump-
tion. ^ •

A meeting in late January among
regional directors was expected
to set in motion a process which
would allow a trade organization
to issue official reports about its
country’s album sales, along with .
the market shares and sales per- '
formances of its individual mem- ;
ber record companies.

So far, only Brazil’s recording
trade outfit, Associagao Brasileira
dos Produtores de Discos
(ABPD), has revealed sales and
market-share data upon request.

The IFPI does publish retail-sales
stadsdcs of individual countries
in the region, but only on an
annual basis. But the IFPI pro-
vides neither a record label’s
market share nor its sales perfor-
mance.

Other trade groups expected
to parddpate in providing sales
information in the coming
months hail from Mexico, Argen-
tina, Chile and Colombia.

For its part, the Recording
Industry A^ociation Of America
(RIAA) is slated to release its
inaugural sales report of the U.S.

Ladno market in February. “It
will be a year-end 1996 sales report," says RIAA chair-
man/CEO Jay Berman. The RIAA’s sales report will be
published twice a year.

However, Berman says the trade group will not divulge

OnJinued on page LMQ;6

So far, only BraziPs
recording trade
outfit, Associa^ao
Brasileira dos
Produtores de
Discos (ABPD), has
revealed sales and
market-share data
upon request. The
IFPI does publish
retail-sales statistics
of individual coun-
tries in the region,
but only on an annu-
al basis. But the IFPI
provides neither a
record label's mar-
ket share nor its
sales performance.

Inside L M Q

Argentina Bounces Back LMQ-3

Chile: Expecting An Uptick LMQ-3

Artists & Music LMQ-4

»•< Merchants & Marketing LMQ-6

^ Programming LMQ-8

LMQ-1

BILLBOARD FEBRUARY 1. 1997

IN ARGENTINA

Julio Iglesias

TANGO

Worldwide sales

3 MILLION
AND COUNTING. . .

FOR 12 CONSECUTIVE
WEEKS!

''CTiff? - -'v,

T. 's. ■■ ^

tMm

ony Music International

7rS^

1096 ;

Argentine Biz Stages
A Comeback, Rouses
Itself From Slump With
10% Growth Rate

BY MARCELO F E R N A lU D E Z BITAR

T herk appears to be

light at the end of the
proverbial tunnel for the
Argentinian record industry.

Tlic slump and dour fore-
casts predicated by tlie Mexi-
can peso crisis of late 199-4
seem to have vanished in the
face of 10% growth in 1996.

Though (inai sales ligures
were not available at press
time, it was expected that the
domestic industry would gen-
erate 16 to 17 million units.

And after a four-year period
when Sony .•\rgentina dominat-
ed the market. PolyGram
.Argentina emerged victorious
in 1996 in revenue.

According to Argentina’s
record-industry trade group,

CAPIF. Sony was second and
BMG Argentina third.

Argentina came in fourth, fol-
lowed by Warner Argentina,
which had mounted an intense
year-end sales thrust. Last but
not least was MCA .Argentina,
which carved out a reported 3
share in its first year of exis-
tence.

“For us at PolyGram,” says
label president Pelo
Aprile, “1996 was a bril-
liant year with constant
sales and no slumps. And
the forecast for 1997 also
is good.”

Among PolyGram’s
best-selling albums in
1996 was the classic-rock
compilation “Best Of The
Eighties,” which sold
100,000 units. Metallica's
“Load” and “Pavarotti 8c
Friends” went platinum,
and El Lobizon Del Oeste’s “Tropimatch
2,” whose initial volume came out on
BMG, was shipped out with 70,000 units.
In Argentina, gold records are awarded for
album sales exceeding 30,000 unius; plat-
inum records are handed out for aloum
sales surpassing 60,000 units.

Rock act I.a Renga sold 50,000 copies of
its November release, “Despedazado En
Mil Partes.” Gold discs have been awarded
to Mercedes Sosa (“Escondido En MI
Pais”), Xuxa (“Xuxa Dance”), Bryan
Adams (“18 ’'fil I Die”) and Kiss (“Un-
plugpd").

PofyGram, which owns 80% of the local
classical market, also possesses a roster
consisting of rock, cult and alternative

Gold-record winners: Mercedes
Sosa, Xuxa, Bryan Adams & Kiss

acts — such as rappers Iliya
Kuryaki 8< The Valderramas.
In December, the band fol-
lowed up its hit album
“(Uiaco” with an “Unplugged”
record.

BMG’s best-selling album
was the albremeniioned first
“ IVopimatch” album by El
l.obi/.6n Del Oeste, with
200,000 units. Next came “Mi
Vida Loca” by Los .Autenticos
Decademes ( 1 50.000 units),
fblloucd b\ Cristian’s “El
Deseo l)e Oir 'In Voz”
(110,000 units). Diego ‘Ibrres*
November release. “Luna
Niieva,*' sold 8.5.000 copies in
one month, and Eros Rama/-
zotti's "Donde Hay .Miisica"
reached platinum at 60,000
units.

GROOVES OF GOLD

(»old certificates fi>r 30.000
units sold weie handed out to
Soda .Stere<}'s “Unplugged.” as
well its to albums bv |oa()um
.Sabina ("Vo, Mi. .Me Coniigo"),
C^arrapicho (“Fiesta l)e Bol
Buniba"), a varit)us-artisis trib-
ute to Joan Manuel Serial
(“Eres Uniro”), the T\’
sou ndtrack “ l.a .Miisica
l)e l)ibu“ and tropical
singers (iary (“F.s Parecido
.A Jesus”) and La Mona
Jimenez (“.Al Pie Del
Canon").

rhougb his label per-
formed well in 1996,
BMO president Enrique
PtSre/. Kogwill is not
Uu'iUefl witli ibe current
state of the record busi-
ness. “'File industry is still
diflicuU for all of us,” he says, “and sales
volumes are below plir [expcciadons]. We
are better off than 199.5. and projections
call for growth, but it is getting real lough
to break a new arlisi.

“ Fhere are no relevant I V programs,
and no FM radio stations can piisli a hit.
We have divided our -AiL-R departments
into two segments, wiili Luis D'Artagnan
Sarmiento in RCA and ])rGduccr Aid Verde
in .Ariola. Tlie compan)’ is changing its
style because we want to focus better on
different musical genres."

UNUSUAL SALES SEASONS

Roberto “Chacho" Ruiz, the recently
CotUhuied on page /jV/Q-6

Chilean Market Improves
Slowly But Surely

An influx of new retailers, the continuing conversion
from cassette to CD and an accelerated search for
domestic talent are likely to fuel an uptick in '97

M A R a U E z

Unlike most
other coun- 7
tries — where
CDs have become the
dominant format —
Chile remains wed-

I 1 ded to cas-

settes. From
January to
October 1996, CDs
accounted for only
25% of recorded
product sold in Chile;
cassettes sales pro-
vided the remaining
75% share.

BY PABLO

W HILE CHILE’S REC:ORD MARKE'f NOWADAYS seems
to be taking two steps forward and one step backward,
tlie overall sentiment among record executives based there is
tliai the domestic market is gradually getting better.

'Fhe sales numbers generated in the (Jiilean record market
in 1996 would seem to bear out their opinions.

According to Chile’s recording industry organization
.Asociacion Fonograficos De Chile (.APF), domestic sales from
January to October in 1996 were 6.45 million units — exactly
5% higher than the 6.14 million units .sold in the same period
in 1995.

riiough .sales of imported product are not ligured into the
official sales statistics, industryites reckon that another 1.2 mil-
lion units were generated in 1996. Similarly, the Januai\-
October 1996 revenue tallies of $64 million represent a nearlv
8% increase over the $60 million figure registered in 1995.

BMG GM Edgardo Larrazabal, who also serves as president
of .APF, observes that Chile’s record business would he even
more prosperous if his country’s economic environment were
healthier. “Salaries are going up, but there is also an
increase in inflation,’’ says Larrazabal. “But this
pi'obleiii is transitory, and we are conluU'iii that in
*97 there will be a belter year for business with an
increase in consumption and the improvetnent in
the \\ A\ music is sold.”

NEW STORES MAY DETHRONE
CHAIN'S DOMINANCE

Primal y cause for l.arrazalxd s sanguine posture is
the annoumemeni that two new record stores are
entering the market — Virgin and Disco Pare. Chile’s
retol d industry is lioping that these two companies
will help modernize the business practices of the
countri ’s retailers.

X’irgin is scheduled to open a store in Santiago in
1997. Disco Pare, which is backed in part by empre-
sario l.ui.s \'enegas, was slated to make its debut in
late 1996 in Santiago. “In Chile, there is mature
grtjwifi everywhere, except in the sale of music,” says
\eiiegas. "\Viih our project, we intend to increase
sales vfilume without lowering prices.”

Disco Pace’s store will be 400 sq. m. (1,320 sq. ft.),
and it will carry 35,000 titles. Industry insiders con-
cur in stressing that the entrance of Virgin and Disco
Pare will spark a violent change in the Chilean mar-
ket, where one chain — Feria del Disco— controls 40%
of the retail industry in Chile.

Jaime Rom^n, MD of Chilean indie Musicavision, Luis Miguel: five times platinum
describes Feria del Disco’s retail hegemony “as very

dangerous” because the retailer has the power to decide what product record labels
should be releasing. “In Chile, retailers continue to live in the Stone Age,” comments
Roman.

CASSETTES' LION'S-SHARE THREATENED

Further, say the Chilean record executives, the expected upgrade in the retail business
practices will help sustain growth in the sales of CDs. Unlike most other countries, where
CDs have become the dominant format, Chile remains wedded to cassettes. From January
to October 1996, CDs accounted for only 25% of recorded product sold in Chile; cassette
^jj^ies^provided the remaining 75% share.

^ l^onetheless, the growth of (^D sales in 1996 has been soaring. The 635,000 CDs sold
from January to October 1996 marked a 34% increase in CD sales compared to the same
period in 1995.

Larrazabal is hopeful that in 1997 the .sales ofC^Ds will equal sales of cassettes. The aver-
age price of a CD in C^hile is $16; cassettes are $7.

PolyGram Chile GM Marcelo Gastello Branco notes that ".Already, certain product from
our catalog, such as ‘Load’ by Metallica, is sold equally among CDs and cassettes. But

Coniinued on page LMQ^!2

BILLBOARD FEBRUARY 1. 1997

LMQ-3

Copyrighted material

Romantic Salsa, Mexican R&B And
A Post-"Macarena" Dance Craze

W ITH THE MASSIVE (ILOBAL SUCCESS
achieved by BMG’s “Macarena" in 199(5,
other Latino labels are hoping to score a
dance smash of their own. For instance, PolyGram is
launching an extensive campaign to break "E O
Tchan,” a blockbuster samba nit from Brazil’s Gera
Samba that sports a provocative, but easy-to-do,

natural extension of what he has been doing. He is a
total artist and he wants to tr)' to do something new.”
Luis Enrique initially hit paydirt in the late ’80s with
such romantic salsa anthems as “Desesperado” and
”Amor Y .Alegria.”

Other Sony artists putting out vital product to be
worked in the first three months of 1996 are

Emanuel Ortega, Fey and
Alejandro Fernandez.

I'he sabor of the moment at
Warner is Nu Flavor, a Mexican-
.American R&B vocal quartet that
has cut a Latino counterpart to its
eponymously titled English-lan-
guage album. .Maribel Schumacher,
VP marketing, Warner Music Latin
.America, will support the album —
due out on Feb. 1 1 — with a 20-city
tour sponsored by Nestle. A track
from the album, “Qiic Viva La
Fiesta,” was featured on a recent
episode of “Friends.” Schumacher
adds that the Long Beach, C^alif.,
group will be “worked by Reprise on
the Anglo side and WE.A Latina on
the Latin side.” She expects the
Latino album to drop in Latin
•America later this year.

Luis Enrique: salsa to pop

dance. Manolo Diaz, president of
PolyGram International Latin
America, says the group will be
introduced first in Europe, then
the rest of the world. In an
unusual marketing gambit, Diaz
says PolyGram will sei*vice a sin-
gle package of “E O Tchan,”
which will include a Playboy
Brasil centerfold photo of Gera
Samba’s blonde dancer Carla
Perez. “I think the world is ready
for this kind of song,” says Diaz.
“It's fun and it has an erotic com-
ponent.” Diaz hopes the Bayside
Boys, who remixed the hit
Spanglish version of “Macarena,”
can once again turn the trick

Gera Samba (top), and Los Rodriguez

T he sabor of the moment at Warner is Nu Flavor, a
Mexican-American R&B vocal quartet that has cut a
Latino counterpart to its eponymously titled English-
language album.

with “E O Fchan.” Other PolyGram artists releasing
key product in the first quarter of 1996 are Isabel
Pantoja, Xuxa and Ana Cirre.

Sony is gearing up to transform Luis Enrique
from a salsa titan to a pop star in Latin America. The
Nicaraguan native’s debut pop release, “Genesis,” is
an R&B/pop/l)allad effort that Frank Welzer, presi-
dent, Sony Music International Latin America, says
will receive “a major push in the U.S., Mexico and
Colombia. This pop album is a venture for Luis — a

Other Warner artists releasing product in the first
quarter of 1996 are David Summers and Los
Rodriguez, Brazilian acts Leandro & Leonardo (in
Spanish and Portuguese) and Kid Abelha (in
Spanish).

MCA’s inaugural, no-holds-barred leap into the
Spanish-language markets will be led by “Lunas
Rotas,” a splendid acoustico-pop/rock album by
Spanish songstress Rosana. Jesus Lopez, MCA
Clontinued mi fyige 1.:\JQ‘I2

PIRACY UPDATE

Coulimtrd from fkige

piracy uniLs and RLAA’s ability to
spark concern within the U.S. gov-
ernment will turn the tide against
piracy.

“Ten years ago, piracy in Latin
•America was not on the RIAA
agenda,” says Berman. “Now it is
on our agenda, so it is our respon-
sibility to get it on the agenda of the
U.S. government. And in the case
of Mexico, we have, and in the aisc

RlAA's Berman

PoiyGram's Diaz

Warner's Midani

of Paraguay, we have.”

KEEPING THE
PRESSURE UP

Like Berman. Manolo Diaz, pres-
ident PolyGram International
Latin .America, reckons that
FLEXO’s anti-piracy initiative
eventually will win out against the
war on piracy. He points to his
experience in Spain in the 1980s,
when the domestic record industry
was able to reduce the share of
counterfeit product from 60% of

the legal market
to a mere 5%.

“We had in-
credible support
from the local
authorities, the
police and the
local record
companies,”
says Diaz.

Both Diaz and
Andre Midani.
president of
Warner Music
Latin .America,
agree that the
stead)- fiscal re-
solve of die labels
to combat pirac*)-
Is vital to keeping
die pressure on
counterfeiters.

Says Midani.
“We should ju-
diciously in-
crease funds for
the anti-piracy
units as they
liecome belter or

Why are Latin
American
governments
reluctant to
actively take
part in anti-
piracy thrusts?
One reason
given by
industry
insiders Is
that Latin
governments
fear if they
deprive
ambulantes
who are
selling illegal
cassettes the
opportunity
to hawk their
wares, there
would be
social unrest.

EXECUTIVE

EDUCATION

Much conversation and discus-
sion about piracy in recent years
has centered on educating Latin
•America’s judicial systems on copy-
right laws that could thwart pirate
activity. But Frank Welzer, presi-
dent, Sony .Music International
Latin America, opines that not only
outsiders need to appreciate the
gravity of Latin .American piracy,
but al.so those executives and
staffers toiling inside the Industrv'
itself.

“Pirac)' is so endemic in Latin
America that it is virtually accepted
as a business condition,” slates
Welzer. He adds that Sony execu-
tives arc being introduced to die
concept of “piracy as something
we should fight to eliminate, not
something to figure out how to live
with.”

Latin .‘America is not the only
region wracked by counterfeit
product. The U.S. also is plagued
by the How of pirate Spanish-lan-
giiage product. Berman estimates
the value of pirated Latino product
in the U.S. as reaching into hun-
dreds of million of dollars.

One bright spot in the fight
against U.S. piracy occurred last
year wdien Fonovisa won a lawsuit
against a sw'ap-meel operator
accu.sed of leasing space to ven-
dors trafficking counterfeit prod-
uct. The judge’s ruling in the case
sugge.sted that third parties could
be found liable for illegal activi-
ties taking place on their premis-
es.

Berman s.ays the judge’s decision
has “had an enormous impact
against the flea-market opera-
tions.”

That sort of judicial assistance
certainly would be a welcome sight
for beleaguered record labels oper-
ating in Latin America. H

LMQ-4

BiaBOARD FEBRUARY 1, t997

Congratulations!

M ARco Antonio Solis

On Your GRAMMY Nomination
(Best Latin Pop Performance)

Asi COMO Te Conoci

8 Weeks on Billboard Hot Latin Chart
3 Weeks at No. 1

Recuerdos Tristeza y Soledad

12 Weeks on Billboard Hot Latin Chart
8 Weeks at No. 1

Que PENA Me Das

14 Weeks on Billboard Hot Latin Chart
10 Weeks AT No. 1

Tm Tkno l/uelb Certified Gold by R.I.A.A.

Available on
Cassette & CD

SP-0512

Fonovisa Music Corporation

Copynghted maleriai

Alterna-rock For Chile And Argentina,
And Gil Goes On The Web

W ith the Warner Bros, biopic of late super-
star Selena tabbed for March 21 — the
anniversary of her birthday — EMI Latin
was scoping an unusual way to jump-start promo-
tion of the soundtrack it is releasing for the film.
The label came up with the idea of putting the
label's name and soundtrack on the trailers for the
movie, which began appearing in December in
movie hou.ses nationwide.

"We had a huge fee for the use of Selena’s
singing voice in the trailer for the movie," says
EMI president/CEO Jos^ B^har. “So I said, ‘Let’s

waive the fee for credit on the trailer’ Warner
Bros, said they had never done such a trade, but
since they had a stake in the soundtrack, they
decided to do it."

Argentine impresario Daniel Grinbank contin-
ues to dominate the concert scene in Argentina
and Chile. Among the top-shelf artists who played
Argentina in 1996 were Luis Miguel, the
Ramones and Lou Reed. An alternative-rock fes-
tival in November in Buenos Aires also hit big

role in Grinbank concerts, particularly in Chile,
where Carlos Geniso, president of Grinbank’s
D.G. Medios, notes that in the past year,
“Sponsors have realized that concerts can be prof-
itable, as well as a good way to enter their [target]
markets.”

Brazilian retailer Planet Music is opening its first
virtual store. All of the company’s national CDs —
about 1,000 titles — can be bought through the
Internet at http://www.uol.com.br/compra/planet.
But Planet Music is delivering product only to Sao
Paulo state.

.Also on the Web in Brazil is Warner Aixenlina’s
revered singer/songw-riter Gilberto Cil. His song
“Pela Internet” (“Through The Internet”) was
released Dec. 14 at his web site http://www.
GilbertoGil.coni.br. “Pela Internet” is one of the
tracks included on Gil’s upcoming April release.

One effective way for record labels to make head-
way in the Chilean market is to secure performances
for their artists during the annual song competition
held at the seaside town of Vina del Mar. Among

Selena: Bio-pic due Miguel Bose (left) and Juan Gabriel will play annual song competition.

O ne effective way for record labels to make headway
in the Chilean market is to secure performances for
artists during the annual song competition held at the
seaside town of Vina del Mar.

with strong performances by the likes of Cypress
Hill, Marilyn Manson, Silverchair, Spacehog and
Nick Cave. Grinbank plans to repeat the alterna-
tive music festival. In Chile, Grinbank’s D.G.
Medios is bringing a series of multi-artist festivals
to that country in 1996. One of the musiefesLs will
feature Foo Fighters, Beastie Boys and Rage
Against The Machine. Also scheduled to perform
Chilean dates this year are Gloria Estefan, Kiss
and Metallica. As always, sponsorships play a key

those already confirmed to appear at this year’s
event — slated to be held Feb. 19 to 24 — are four big-
name acts: BM(i singer/songwritcr/producer Juan
Gabriel and his “Macarena” labelmates Los Del Rfo,
plus Warner notables Miguel Bosd, an esteemed
actor/singer/songwriter from Spain and Laura
Pausini, the Italian songstress who has become huge
in Latin America. Also set to play is Argentina’s pop-
ular Adrian Y Los Dados Negros, which is signed to
Argentinian indie Musicavisi6n. —J-L.

SALES DATA TO BE DISCLOSED

Continued from page IMQ^l

market share or sales .statistics real-
ized by member companies.

Enthusiastic s^pori for the
plan to reveal official sales data
was voiced in December by five
executives overseeing Latin
America — Manolo Dfaz, president,
PolyGram International Latin

MCA's Lopez

Sony's Welzer

/Vmerica; Jesus Lopez, senior VP
Latin American Region, M(^A;
.Andre Midani, president, Warner
Music Latin America; Ramon
Segura, senior VP, Latin Region.
BMG International; and Frank
Welzer, president, .Sony Music
International Latin .America.

Most regional directors opined
that the lack of credible sales data
for Latin America has damaged the
region’s image, not to mention its
competitive environment. More-
over, they insist that the reporting
procedures among the trade asso-

ciations be stan-
dardized so that
an unequivocal
economic pro-
file of the
region can be
ascertained.

“The multi-
nationals have
to obligate their
executives in
South America
to do the same
sales reports
that are done in
the U.S. and
Europe,” said
L6pez. “They
do not do it, so
it becomes con-
fusing for the
executives’
superiors, who
have no idea
what size the
market is.

“So,” con-
cluded L6pez, “people in the cen-
tral offices do not have a clear idea
of the positions of the companies,
so they cannot properly evaluate
the work being done by their exec-
utives in the region.”

Added Diaz, "if the [companies]
hide the information, there is an
implication of wrongdoing by the
labels.”

Midani stated that, traditionally,
some record labels had been
“touchy” about releasing sales <lata,
“since they wanted to be No. 1 and
they want to continue to be able to
say they are No. 1. Obviously, they
don’t want official sales figures to
be published because then they
couldn’t siiy lliey arc on top.”

(.As pan of its continual effort to
pro\ ide solid data pertaining to the
ILb. l.atino market. Billboard
plans lo debut market-share statis-
tics in iuiure issues of l.atin Music
Quartei b. Like the regional execu-
tives overseeing operations in
Latin America, Billboard, too,
wishes lo help pave the way for
improved dis.semination of reliable
sales information. For it is only with
hard facts that the Latin America
region can be viewed as a serious
market whose sense of responsibili-
ty has finally come of age.) —J.L.

For its part,
the Recording
Industry
Association
Of America is
slated to
release its
inaugural
sales report of
the U.S.Latino
market in
February.
''It will be a
year-end
1996 sales
report, "says
RIAA chair-
man/CEO
Jay Berman.
The RIAA's
sales report
will be
published
twice a year.

ARGENTINA

Continued from fmge IMQ^3

appointed president of EMI
Argentina, views 1996 as an “atyp-
ical” year in which historical sales
seasons changed for the first time.
November, for instance, was not
the usual hot-selling month.
Moreover, notes the veteran
record executive, “We sold more
units this year, but we made less
money." Ruiz supports his claim
by stating, “There were major
sales in mid-price and bargain
series.”

As for 1997, Ruiz is pessimistic,

saying that “Our main concern is
to develop new talents and only
strike deals with TV shows on
occasion.” Previously, most of the
marketing campaigns of EMI’s
best-selling acts have been tied to
television shows; last year’s best-
sellers included “Chiquititas Vol.
2” (300,000 units; an album of
songs from a popular kiddie show)
and Thalia’s eponymously titled
album (100,000 units; the single
“Piel Morena” was included in a
soap opera).

Other platinum artists were Los
Pericos (“Yerba Buena”), Patricia
Continued on page IJdQ^lO

LMQ-6

BILLBOARD FEBRUARY 1 . 1 997

Copytlghtsd materiai

INTERNA T I 0 N A L

T€H y€A8S yoUHG

CRISTIAN

PROGRAMMING

Calo Singer Goes To The Dogs,
And Radio Goes On A Shopping Spree

Brazil's Titas contribute "Pela Paz" to an anti*violence campaign. TV Azteca.

C LAUDIO YARTO. vocalist
for PolyGram Mexico pop/
rap act Calo. has inked an
exclusive contract with TV Azteca
to star in his own show. In addi-
tion, Yarto will provide the voice
for a canine character in an
Azteca kiddie soap opera.
PolyCirani’s last release of 1996
was a greatest-hits package by
Calo entitled “Puro Calo.”
Argentine promoter Daniel
Grinbank has bought Buenos
Aires outlet Radio Splendid AM
and FM (there are no call letters
for radio stations in Buenos
Aires). Grinbank has switched his
successl’ul rock & pop format I'rom
Radio Buenos Aires, with whom
he had a leasing agreement, to
Splendid's FM frequency. Grin-
bank. however, is not through
with radio-leasing pacts. He
recently began leasing Radio Del
Plata’s FM station, where he is
planning a Latin music formal.

The relaxation of media-owner-
ship regulations in the U.S. has
sparked an acquisition spree of
domestic Latino-radio stations.
The result is that 85% of the U.S.
Latino radio market has been gob-
bled up by New Heftel and

Spanish Broadcasting System
(SBS). New Heftel is a company
that will be created this month as
the product of a merger between
Heftel Broadcasting and Tichenor
Media System. Former Tichenor
personnel will manage New

Heftel’s 86 Spanish stations. SBS,
which owns 10 stations, purchased
four lai^e-market stations in 1996,
including top-rated stations
WRMA-FM Miami and WPAT-FM
Paterson, N.J.

Brazilian radio networks are

managing to extract themselves
from broadcasting “Hora Do
Brasil.” The program was created
during the 1937^5 dictatorsh^ of
Getulio Vai^s to provide omcial
communiques from the govern-
ment. The “Hora Do Brasil” is

scheduled on weekdays in the
important 7 p.m.-to-8 p.m. slot. In
recent months, however. Brazil’s
radio trade group Brazilian
Association of Radio and TV
(ABER'F) has obtained legal per-
mission for some of its stations to
air “Hora Do Brasil” from 1 1 p.m.
to 12 midnight. ABERT has
secured the time switch by noting
that, instead of broadcasting “Hora
do Brasil,” its radio stations will
provide community-service pro-
gramming, such as traflic reports.

A Sao Paulo radio station called
simply 89 recently organized an
anti-violence campaign, using as
its theme song “Pela Paz” (“For
Peace”) by Warner Brasil rockers
Titas. “Pela Paz” will be included
on “Domingo,” a 1996 album
being re-relea.sed in April with a
remix of the title track.

Fonovisa, which is owned by
Mexican TV behemoth Televisa,
showed its prowess at promoting
singles in the U.S. by nailing the
No. 1 song on Hot Latin Tracks for
50 of 52 weeks. Only Gloria
Estefan’s “M^s Alli” (Epic/Sony)
and Olga Tanon’s “Basta Ya!” (WfclA
Latina) were able to break through
to the lop of the chart.

BMG Songs (US Latin) opened its
doors in 1995 in Miami. In our first
fifteen months we’ve signed, among
others, El General, Billboard’s Best
Latin Rap Artist four years running,
and Vladimir Dotel, leader and song-
writer of llegales. Our worldwide
Latin roster includes Juan Gabriel,
the late Antonio Flores of Spain,
Argentinian superstar Diego Torres,
and Andrea Echeverry and Hector
Buitrago of Aterciopelados. We also
represent the Escolas de Samba in Rio.

And we are extremely proud to be
Billboard's 1996 “Latin Publishing
Corporation of the Year,”
and look forward to expanding with
this vibrant market.

MUSIC PUBLISHING

What Quality Sounds Like.

LMQ-8

BILLBOARD FEBRUARY 1 . 1 997

Copynghtafl matariai

LOS LOBOS-i-naNEy mark DAVXD BYRNE+CAFE TACUBA TODOS TUS nUERTOS
+LOS AUTENTXCOS DECADENTES LOS FABULOSOS CADXLLACS+FZSHBONE
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A pasT-naocRN look
AT THE CONTEnPORARY
LATIN ROCK SCENE

iNO DUERMAS!

USA UN CONDON DE LATEX CADA VEZ DUE TENCAS SEXO

e>997 RED HOT ORGANIZATION

STAY TUNED FOR THE LIVE CONCERT EVENT COtllNG THIS SPRING

lence =

Copyrighted material

Cristian

platinum acts such as Commanche
and Gnipo Sombras.

Warner hit major paydirt with
Luis Miguel’s “Nada Es Igual...,”
which sold a whopping 420,000
units. Fito P^ez’s “F.ulbria” sold
120,000 copies. Alanis Morissette
(‘jagged Little Pill"), Alejandro
Sanz (“Tres”) and Los Rodriguez
(“Palabras M4s Palabras Menos”)
struck platinum as well. Warner
acts hitting gold were Laura
Pausini (“Las Cosas Que Vives”),
Los Rodriguez (“Hasta Luego"),
Phil Collins (“Into 'Fhe Night”),
AC/DC (“Ball Breaker”), Enya
(“Memories Of Trees”), Red Hot

Alejandro Sanz

Chili Peppers (“One Hot Min-
ute”), Man^ (“Cuando Los Angeles
Lloran”) and FM Aspen
(“CUsico”).

Distribuidora Belgrano Norte
(DBN) director Ramiro Amorena,
who inked licensing deals with
Epitapha and Grita!, says 1996
“was a pretty good year for us, but
not because of sales. We cut down

Patricia Sosa

Eros Ramazzotti

Mana

our costs after the slump of 1995,
and we ended up better than we
expected."

DBN reached triple platinum
with .Memphis La Blusera’s live
album, “Memphis En Vivo." and it
has releascfl a new Memphis La
Blusera disc. “Cosa Dc Hombres.”
which already has struck gold. Cult
rockers Patricio key V Sus
Redonditos De Ricota have hit plat-
inum. with nxk bands l.os Pl<m)s
and Las Pelotas r(raciiing gold. B

ARGENTINA

C.onlinuttljmm pagf

Sosa (“La Historia Sigue") and
new fiilklore act Los Nocheros.

.Another V-related act,

Ri(]uelme, sold lo.OtH)
units in November.

International ads hil-
ling gold were (itx)ige

Though his label
performed well in
1996, BMG presi-
dent Enrique
Perez Fogwill is
not thrilled with
the current
state of the reco
business: “We are
better off than 1995,
and projections call
for growth, but it is
getting real tough to
break a new artist.

There are no relevant
TV programs, and no
FM radio stations can
push a hit."

Michael, Roxetteand Lenny Knivitz.
T he lhrt*c“ BealJt^s “Anthology” sets
sold a combined 57,(X)0 units.

MULTI-PLATINUM PAYDIRT

In the indie area, labels such as
Leader and Magenta dominate
the tropical-rooted "bailania”
genre with hot-selling muki-

Los Autenticos

VOASAT

24 hours
a day to
Latin America!

The Voice of America offers the
best in international news and
entertainment via satellite to
stations around the world.

Our 24 hour a day digital
VOASAT network available in
Latin America also offers a daily
service of 1 0 newsfeeds for AM
and FM markets, regional and
international news reports, and
a variety of entertainment
programming.

* Desde Hollywood

* ^xitos Latinoamericanos

* CD de la Semana

* Vibraciones en Jazz

* Oe Capital a Capital: the
best rock and pop!

* Ritmo Beat: La Diva dances
and tells all!

afflliales@voa.gov

http://www.voa.gov

Fax:202-401-1494

LMQ-10

BILLBOARD FEBRUARY 1 . 1 997

Copynghtec material

ABEN COMO TOCAR
CORAZON DE UNA M

CONTIENE

LOS ROMANTICOS TEMAS

AMOR TOTAL Y

MI MUJER

Es Poly Gram.

LATINO

Copyrighted material

Rosana

songwjiu*!* star Cristian has gar-
nered attention for liis recent sign-
ing to BMG, it is Argentine
pop/reggae icon Diego Torres who
will he getting llie star ireatiiient at
the regional level in early 1996.
Torres’ latest album, “Luna
Nueva,” which, predictably, is a
smash in .Aigeniina, will 1 h* sup-
ported by heavy promo in the U.S.
beginning in mid-February. Fur-
ther plans are in the works, but
BMG decided to tr)' to break Torres
after his 1994 release, “Trautr De
Estar Mejor,” sold 800,000 units in
Latin America. —J-L.

ARTISTS & MUSIC

Continued from page

senior VP, Latin American
Region, says that Rosana
will support her initial
foray into Latin America
with a promo lour, slated
to begin Feb. 16. Rosana
already has a song fea-

Spanish songstress
Rosana will support
her initial foray into
Latin America with
a promo tour, slated
to begin this month.
The MCA artist
already has a song
featured in a
Brazilian telenovela
(soap opera) and
another song
appearing In a
Chilean telenovela.

Leandro & Leonardo

lured in a Brazilian lelemvela, or
soap opera, and another song
appearing in a (Chilean lelenovela.
“She is the biggest artist since
Mecano broke in 1980,” declares
Lopez.

He adds that big things are
expected, as well, from new prod-
uct by Brazilian samba crew Papo
Dez, /Vrgentinian dance act Derek
Lopez and Mexican pop/dance
trio Mohemia.

Even though Mexican singer/

Fey

CHILE

Continued from ptige /A/Q-?

(Tiile is a country that can
reach 60% to 70% of its
sales in CDs. And in ’97,
you’ll see thal w'e will get
near thal percentage.”

LOOKING FOR
LOCAL TALENT

As record executives
await an uptick in sales
from new retail [)layers.
ihey also realize that long-
term prosperity rests on
their ability to generate
more sales from Chilean
recording ariisi.s.

“If the (Tiilean market
wants to grow in every sense ol tlie
word, it is very important to devel-
op more strongly local artists.”
says Sony Chile’s GM Jose Antonio
F.boli. “In order to achieve thal.
apart from the labels discovering
tiew talent, it is necessary to gain
more media exposure for national
acts — especially at radio.”

CTiilean acts nabbed a mere 20%
of total record .sales in 1996. The
remaining 80% of sales is divided
among Latino and non-Latino
artists. By contrast, homebred
artists in Argentina sold 40% of all
recorded product in that country.
Domestic acts in Brazil did even
better by garnering 70%^ of total
album sales in Brazil.

In addition, a study conducted

Chilean acts
nabbed a mere 20%
of Chile's total
record sales in
1996. The remain-
ing 80% of sales is
divided among
Latino and non-
Latino artists. By
contrast, homebred
artists In Argentina
sold 40% of all
recorded product in
that country.
Domestic acts in
Brazil did even bet-
ter by garnering
70% of total album
sales in Brazil.

by (Tiilean authors’ rights society
Sociedad (>hilena Del Derecho De
Amor revealed that in 1995 a puny
10.6% of music programmed on
(Tiile’s .AM and FM radio stations
was by (Tiilean artists.

STARS FROM AFAR
SHINE BRIGHTER

“In comparison to other coun-
tries in the region,” says
Larrazabal, “in (Jhile, it is very dif-
ficult to develop a local artist. /\n
example: The record by Javiera Y
Los Imposibles entitled ‘Cone En
Ti'^mite.’ .After three No. I singles,
it only began to sell after being out
Cotilinued on pttge

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BOBBI MARCUS PUBLIC RELATIONS. INC.

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EMAIL: BMARCUSPR@AOL.COM

BILLBOARD FEBRUARY 1, 1997

LMQ-12

1 1

Um - ^ 1 1

iBim.

Chilean music
enthusiasts
routinely suc-
cumb to that
most human
habit of thinking
that what is
produced from
afar is better
than what is
produced at
home. Witness
Luis Miguel's
"Nada Es
Igual...," a pop
record by the
Warner Mexico
superstar now
over 125,000
units. A gold
record in Chile
is handed out
for 15,000
units sold.

CHILE

(lonlhiurd from fmgt' /jV/Q-72

one year. 'I liac doesn’e liappen co
foreign [acts] like No Mercy. [ Tlie
band's hit “Where Do You Go" was
feauired on a 'I'\’ somulcrack].

What is the difference?”

The difference may be dial
(Uiilean music enthiisiascs routine-
ly succumb to that most human
habit of thinking that what is pro-
duced from alar is better than
what is produced at home.

LosTres: 125,000 "Unplugged" units

Witness Luis Miguel’s “Nada Es
Igual...,” a pop record by the
Warner Mexico superstar now
over 125,000 units. A gold record
in Chile is handed out for 15,000
units sold; platinum is for 25,000
units sold.

Some Chilean acts have fared
well, of course. Sony rockers Los
Ties sold 125,000 units of
“Unplugged.” EMI’s seminal
rock outfit, Los Prisioneros,
rang up 50,000 units of its dou-
ble-CD anthology “Ni For La
Ra^6n. Ni For La Fuerza.” And
the two volumes of the sound-
track to the TV show “Sucupira”
(Musicavisidn) have sold 150,000
units.

Regardless of domestic music
sales, longtime market leader
Sony remains atop the Chil-
ean record hill with a 24
share. Rounding out the rest
of the record companies are EMI
Chile (207c), BMC (18%), Poly-
Gram, which includes Miisica-
vision (18%), and Warner Chile
(17%). Chilean indies CNR and
Unidn Records split the remain-
ing 3%. ■

WHAT'S SO
SPECIAL?

Latin Music
duatterlY

3 de Mayo

Billboard

Latin Music Conference
28-30 de Abril

peermusic

IS now in

Miamti

bienvenidos

to our Miami writers:

Hal Batt
Mari Lauret
Loewy

Gabriel Loor

“The Butterclub”)

Donato Poveda
Amparo Sandino

For more information,
please contact Ramon Arias

I I’

209 9th Street, Miami Beach, FL 33139
Phone: (305) 534-0808 Fax: (305) 534-0830

Visit our web-site at:

LMQ-14

BILLBOARD FEBRUARY 1. 1997

Copyrighted materia!

NAVARRE

F • R A T

1 - 800 - 728-4000

P.O. Box 445 Walnut, CA 91788-0445 (909)595-2144
Fax (909) 598-7028 Email Thump4<ds@aol.<om

MemUer «f

Copyrighted material

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copyW

Shrink-Wrap On Way Out In EU? B

Rules To Limit Packaging Waste

■ BY JOHN FERGUSON

LONDON — K raft of new waste pack-
aj?ing regulations, which could spell the
end of shrink-wrapping, may force
European music retailers into a major
rethink of hou^ product is displayed.

The regulation changes stem from
the European Union Directive on Pack-
aging and Packaging Waste (issued in
1994), which laid dow'n targets that EU
member countries must meet on the
recovery and recycling of products such
as waste |)ackaging.

Within the EU, Germany has led the
with en\ironmental legislation that
requires retailers to use plastic wraj)-
ping that Ls recyclaWe; as a result, many
leading stores now stock product with-
out shrink-wrapping.

Now the U.K. gorernment’s Depart-
ment of Environment has drawn up

di*aft regulations that cover the same
issue. The changes could result in major
retailers in Britain being forced into
adopting expensive recycling oixjrations
or abandoning the ase of shrink-wrap.

Although the ending of plastic cover-
ing wx)uld save retailers time and money,
many are concerned about the impact it
could have on in-store security. At pre-
sent, anti-theft devices are placed
underneath the wrapping, offering
retailers an extra layer of security.

The removal of a covering will also
increase the likelihood of damage to the
packaging, so retailei*s may have to con-
sider providing some sort of replace-
ment packaging.

The Briti.sh Assn, of Record Dealers
(BARD) and other retail organizations
are closely monitoring developments.
RARD director general Bob Lew^is com-
ments, “Anything tliat lessens security

newsline...

LONDON-BASED Castle Communications has completed a deal with
Warner Bros. Cinemas and Triumph Motorcycles that will see “Writ-
ten In Red,” the new album by veteran new-wave act the Stranglers,
featured this month on movie screens throughout the U.K. and conti-
nental Europe. Warner Cinemas will feature an onscreen promotion to
win a customized Stranglers Triumph Thunderbird. The bike, featur-
ing the band’s signatures and logo, was unveiled at the launch of the
Warner Village Multiplex Cinema in Dagenham, near London.

MAINLAND CHINESE categories arc to be honored for the first time at
the Channel V Chinese Top 20 Music Awards, to be held Saturday (1)
In Taipei. Three additional categories recognizing artists from the
mainland will comprise best female, best male, and best video. The
awards, which feature performances from each winning artist, last
year included sets from Chinese artists from Hong Kong, Taiwan, and
Singapore. The show airs Feb. 2 on Channel V

SWEDEN’S POLAR Music Prize has this year been awarded to Swedish
choral conductor Eric Ericsson and Bruce Springsteen. The honors will
be presented by the king of Sweden at a ceremony May 5 in Stockholm.

in a store is a preblem for a retailer. It
is as simple as that"

The EU directire on waste j)ackag-
ing calls on indi\idual membere “to pre-
vent any impact on the envirenment, or
to reduce such an impact thus provid-
ing a high level of environmental pro-
tection. By the end of 1999, 25% of all
packaging waste should be recyclable."

In the U.K., the preposed regulations
do not call for the banning of shrink-
WTapping, but set out the obligations of
retailere and other businesses in re-
gards to the recovery and I'ecycling of
waste-packaging products. The regula-
(Continued on page kV

Brashs

ASb >iit mosb umm im(K&

TEN THOUSAND DOLLARS
Heal Tbe World Foundation

Down Under Donation. Michael Jackson, right, receives a $10,000 charitable
donation for his Heal the World foundation from Matthew Campbell, group GM
of Brashs, the Australian retail chain. Campbell, left, made the presentation dur-
ing Jackson's recent tour of that country, in the center is Denis Handlin, chair-
man/CEO of Sony Music Entertainment Australia. The money was raised via
Brashs' “Write Your Name In History" promotion campaign for Jackson's "Histo-
ry: Past. Present And Future— Book 1 " album.

Celtic Heartbeat Shops For New U.S. Deal

BY DOMINIC PRIDE

LONDON — Celtic Heartbeat, the
Dublin-based lal>el l>ehind the world-
wide smash “Riverdance," is looking
for a new licensing and distribution
partner after Atlantic Records in the
U.S. decided not to renew its three-
year deal with the lalx^l.

Atlantic took a 50%^ stake in the ven-
ture, founded in 1994 by Principle
Management’s Paul McGuinness, Dave
Kavanagh, and the label’s managing
director, Barbara Galavan.

The label'.s most .successful relea.se
is “Riverdance,” which started life as
Bill Whelan’s composition for the inter-
lude in the 1994 Eurovision Song Con-
test. To date, the album has sold more
than 900,000 copies worldwide, accord-
ing to the label, and its reception has
been accompanied by the phenomenal-
ly successful .stage .show, which until
earlier this year featured dancer
Michael Flatley.

It is understood that Celtic Heart-
beat will retain full rights to its cata-
log, and that Atlantic will disinvest
from the label when the deal expires in
March. Releases from Celtic Heart-
beat were distributed worldwide
through Warner Music International

CltTICMHBAl.TBEAT

companies.

Galavan says, “I am keeping my
options open” with regards to a new
deal, but the possibility of another
major taking a stake and doing a
worldwide licensing deal remains

strong. “We were set up to do a deal
with a rntyor,” says Galavan, “but with
the A&R souree here in Ireland, u.sing
the expertise of the three partners.”
“The deal witli Atlantic woi-ked very
well,” adds Galavan, citing “River-
dance’s” current No. 1 jMxsition on Bill-
board’s Top World Music Albums chart
(Continued on page 50)

KDga, JASRAC Learn SymbiDsis

Former Adversaries Share Offices

■ BY STEVE McCLURE

TOKYO — Not t(M) long ago, the only
place Japanese performance/mech-
anical rights society JASRAC and
the Koga Music Foundation were
likely to meet wa.s in a courtroom.

But JASRAC and Koga will have
to leani to live with each other, now
that they share premises in Koga’s
new headquarters in westeim Tokyo.
The mov(‘ follow's last year’s settle-
ment of a long dispute over the con-
ti'ovei’sial decision by a previous JAS-

R.AC’ executive to lend Koga 7.77 bil-
lion yen ($60.8 million at a rate of
1 yon to the U.S. dollar) interest-
free L)ver JO yeare toward construc-
tion of Koga’s new lieadtiuarlers.

JASRAC finished the arduous
process of m(wing from its old offices
in downtown Tokyo Jan. 1 J.

Under the initial deal with Koga —
a nonprofit society set up to preserre
the legacy of famed Japanese pop
songwriter Ma.sao Koga — JASRAC
wa.s to occupy eight floore of the 1 1-
(Continued on page .'(7)

The New Ch^salis

Belinda Cariisle

Fun Lovin' Criminals

3 Top 20 singles in the UK
approaching GOLD.

SILVER, approaching GOLD.

More Hits from the UK family of EMI Labels

White Town

Debut Sing/e
Brilliant!

BILLBOARD FEBRUARY 1. 1997

Copyrighted materiai

International

INTERNATIONAL EDITOR-IN-CHIEF
Ad^m White

European Charts Turn Eyes Toward Future

SNEP Renews With IFOP/Tite-Live Dutch List Now Includes Airplay Data

m BY REMI BOUTON ■ BY ROBBERTTILLI

PARIS — Fi’ench label body SNEP has si^ed the chart contract that will take it
into the next millennium.

After months of negotiations during which a number of companies tendered for
busines.s, SNEP has renewed its contract with IFOP and Tite-Live, the two firms
responsible for compiling and producing France’s top 50 albums, top 75 singles,
and top 25 album compilations charts. The four-year deal runs until May 2001.

“The renewed contract takes into account mo.st of our demands,” explains
SNEP’s chart director, Jean-Yves Mirski, pointing out that the deal was “unan-
imously wted for by the SNEP board.”

The central issue in the negotiations o\-er the new arrangement was the price
paid by the industry for the charts. SNEP is not willing to disclose the amount,
but sources say that if the previous deal was in the region of 10 million-11 mil-
lion francs ($1.8 million-$2 million) a year, the new figure should be 25%-30%
lower.

Some industry executives still believe that the cliai’ts are too expensive, espe-
cially as they have limited media exposure. At present, the singles and album
charts are broadcast on AC national I'adio network Europe 2, but there is no TV
window. After a period of less than six months in 1995 during which there was a
chart show on French public TV channel France 2, the program was dropped.
SNEP sued France 2 for what was claimed to be a breach of contract. A court
decision is due in February.

In the meantime, several options for TV exposure for the chart have been dis-
cussed, but no decision has been made. According to Mirski, negotiations are in
progi’CvSs with cable and satellite music channel MCM Euromusique for a week-
ly show. “One of the advantages of MCM is that it has an international reach,” says
Mireki. Some in the industry say that MCM is better than nothing but point out
that it reaches a mere 1 million households in France. SNEP says that it is also
in negotiation with a leading national news magazine to carry the charts.

As opposed to SoundScan in the U.S., which covers approximately 85% of all
the accounts selling records, SNEP’s system is based on a rotating sample of 80
stores, which represents some 20% of the market. IFOP monitors the lar^e super-
markets, while Tite-Live concentrates on specialist outlets.

According to Mirski, the number of stores is poised to grow gradually. He adds
that a new balance ha.s been implemented between the vai*ious types of stores,
taking into account the growth of supermarkets and the slight market-share
drop of specialized chains such as FNAC and Virgin.

A criticism often levelled at the charts is that the sample of stores does not

(Coiilinued m next page)

AMSTERDAM — The official Dutch album and singles charts, the Mega Top 50,
have been extended to include 100 positions, elTective Jan. 1. Modeled on the Ger-
man sales chart compiled by Media Contrel, the Mega Top 100 singles incoipo-
rate airplay data for positions 51 to 100; the first 50 positions remain based only
on sales.

Sales data for the new charts is electronically gathered at the point of sale
from approximately 450 retailers across the county. Aircheck, a monitoring com-
pany owned by authors’ society BUMA/STEMRA, tracks airplay with the help
of a computerized “fingeiprint” system, comparing stored sound samples to the
signals received from 16 Dutch i*adio stations.

While the previous Top 50 was based solely on electrenically captured data,
the Tipparade, which featured the next 30 titles, was compiled from handwrit-
ten diary entries. Tipparade has been dropped in favor of the extended chart.

“The changes eliminate the human element, which has always greatly harmed
the credibility of the Dutch chart in the past,” comments newly appointed Mega
Top 100 managing director Machgiel Bakker. Of the extended chaits’ other major
change, he adds, “We hope that the airplay input in the bottom half of the chart
will fuel the entries of new artists.”

Gees Vervoord, CEO at BUMA/STEMRA, says that the system “is objective,
and for that reason the new chart gets support from the industry on a broad
basis.” BUMA/STEMRA is one of the parties that initiated and backe<l the launch
of the Mega Top 100. Other parties involved in the derelopment of the new chai'ts
are Dutch IFPI body NVPI; retailers’ association NVGD; and public top 40 sta-
tion Radio 3, which acquired the broadcasting rights to the Mega Top 100.

Despite the broad support, criticism of the new system has been raised. Inde-
pendent record promoter Lex Coesel, alluding to a practice prevalent in the U.K.,
s^s, “What will happen when singles are dumped [on retailers] and subsecjuently
sold for cut prices?”

NVPI chairman and PolyGram Netherlands president/CEO Theo Roos com-
ments, “If there was a minimum price for a single and that information was then
built in to the bar code, the problem would soon be eliminated.”

He adds that NVPI is sensitive to difficulties that might occur and, indeed, is
trying to prevent them before they happen. “A working group of music-industry
professionals is looking at all the preblems which always arise when you do some-
thing new like this,” he states.

Roos argues, though, that there is a general satisfaction with the new proce-
dure. “Apart from these minor details, all NVPI members have a good gut feel-
ing about the Mega Top 100.”

BMG Victor Renames Itself BMG Japan, Reorganizes

■ BY STEVE McCLURE

TOKYO — As it celebrates its 10th
anniversary, BMG Victor has changed
its name to BMG Japan and undergone
a major reorganization.

The company has been divided into
two main label groups and a media
division. The Fun House label, which
BMG Victor bought last year, will con-
tinue to operate separately, with Kazu-
naga Nitta as president.

The company’s new Arista division
handles that label and also includes the
former No. 2 domestic A&R section.
Named as managing director of the
division is Jack Matsumura, formerly
GM of Sony Records’ Tristar label.

“We hired Mr. Matsumura because
he’s young and knows both the inter-
national and domestic sides of the busi-
ness well,” says BMG Japan president
Osamu Sato.

The RCA Ariola division will handle
those labels and includes the former
No. 1 domestic A&R section. It is head-
ed by Fumimaru Kawashima, previ-
ously senior director of the interna-
tional pops division.

Sato says that it is up to Matsumura
and Kawashima to establish distinct
identities for the label groups.

Tomoyuki Tashiro, formerly senior
director of the firm’s strategic mar-
keting division, heads the newly estab-
lished media division, which will over-
see areas such as door-to-door sales,
video, interactive entertainment, and
jazz and classical repertoire.

BMG Japan will maintain an overall
administrative structure to coordinate
the various parts of the company.

The changes
took effect Jan.
1 .

Sato says
that the name
change is part
of BMG’s effort to create a strong cor-
porate image in Japan. Two other
Japanese record companies — Victor
Entertainment and MCA Victor —
share the Victor moniker.

“We want BMG Japan to be known
as a quality company,” he stresses.

The reorganization reflects BMG’s
emphasis on increasing its domestic

■ BY CHARLES FERRO

COPENHAGEN— The Danish Gram-
my Awards ceremony has emerged
from the shado\vs of relative obscurity
into a real event since it was spiced up
last year.

The event was previously only of
real interest to the industry, but now
many Danes are planning their calen-
dars around the Feb. 1 show. What was
once one of many awards ceremonies
has been shaped into a real show with
top live acts and broad public appeal.
Last 3^ear the venue was moved to the
Circus Building in the middle of

repertoire presence in Asian markets,
according to Michael Smellie, senior
VP of BMG Entertainment Interna-
tional’s Asia-Pacific regional office.

“As our companies develop, the con-
cept of breaking into smaller label
groups sharing common back-office
services is something that we will con-
tinue to look at,” he notes. “I think par-
ticularly once you start to get into
domestic repertoire, there are advan-
tages in having different creative
teams, different A&R people, different
marketing and promotion people.”

In the case of BMG Japan, Smellie
says, “We’ve had one or two very large
acts [such as SHA RAM Q], but we
really haven’t had a roster of acts.”

Copenhagen and was covered live on
TV

The schedule of live acts is headed
by Suede and Simply Red, along with
domestic talents Sanne Salomonsen,
TV-2, Dizzy Mizz Lizzy, Ann Louise,

Domestic repertoire accounts for
about 70% of BMG Japan’s business.
The company’s net sales (including
those of ^n House) for the year end-
ing June 1996 were 47.24 billion yen
($^0.2 million).

The moves cap a re.sU’ucturing pi*ocess
that began in 1994, when BMG Victor
ended its sales contract with Victor Musi-
cal Industries (now' Victor Entertain-
ment) and set up its owm sales team. In
March 1996, BMG Victor bought Fun
House, w'hich now operates as an affili-
ate of BMG Japan. Last year also saw'
Bertelsmann Music Group GmbH
increase its equity stake in the Japanese
label to 100% by buying the 10% share
that was still held by Victor Co. of Japan.

Niels Henning Orsted Petersen with
Lisa Nilsson, and Den Gale Pose. This
year's event will also be broadcast live
on the Danish Broadcasting Co.’s TV
Channel i.

(Contiriued on next page)

Danish Grammys Show Gets A Boost

INTERNATIONAL DEPUTY EDITOR
Thom Duffjr

INTERNATIONAL MUSIC EDITOR
Dominic Pride

(NTERNAHONAL NEWS EDITOR
ieflaarh-Meads

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BILLBOARD FEBRUARY 1. 1997

International

SHRINK-WRAP ON WAY OUT IN EU?

(Continued from page ^5)

tions would be phased itv and business-
es with re\'enues of less than $8.47 mil-
lion (5 million pounds) or who handle less
than 50 metric tons of j)ackaging will be
exempt from the obligations until 1999.

Music retailers fall under the “pack-
ers/fillers” category and under the
draft proposals must either dispose of
shrink-wrapping themselves or join a
“compliance scheme” in which a third
party will be responsible for meeting a
company’s regulatory obligations.

If a retailer decides to stick with
shrink-wrapping, it would have to
ensui'e that the protective covering is
removed before customers leave the
store with their purchase, or arrange
for them to return the waste })ackaging

story building and pay rents lower than
those prevailing in the late-’80s “bub-
ble economy” era. JASRAC membere
criticized the deal, key JASRAC exec-
utives resigned in early 1994, and the
new leadership froze payments. Koga
and JASRAC then sued each other in
the spring of that yeai*.

In June 1996, JASRAC’s member-
ship approved a court-suggested com-
promise whereby the society would
lend 5.2 billion yen ($44.7 million) to
Koga, instead of the original 7.77 bil-
lion yen, and pay a reduced rent.

JASRAC’s new offices ai*e located at

to the outlet at a later date.

The 98-strong HMV U.K. chain has
yet to make a decision on what route it
would take, but has launched trials in
two of its stores where stock will be dis-
plaj^ed for the first time without any
shrink-wrapping. It has developed
“d(^-bone ta^,” which are fitted so that
the jewel box cannot be opened.

Head of security Colin Culleton says,
“We know what the pressures are on
shrink-wTapping, and we would like to
be ahead of the game. For example, if
we find out that it is going to be imprac-
tical to use shrink-wrapping, we would
rather know in atlvance what the elfect
on store loss, and the condition of the
CD cases themselres, will be.”

the following address: 3-6-12 Uehara,
Shibuya-ku, Tokyo, Japan 151. The
telephone number is OJl-3481-2121, and
the fax number is 03-J1481-2150.

The society also has a new English-
language World Wide Web site (http://
\v^^yasrac.orgp/ejhp/), which contains
information on JASRAC's history,
structure, and operations.

The more to new premises coincides
with what many in the Japanese music
copyright community see as a more
aggressive stance by JASRAC on
issues such as new media.

“I think the president of JASRAC,

Chris Holland, senior security advis-
er at W H Smith Retail in the U.K., is
also closely monitoring the situation.
“We are looking at the whole area of
product display and materials that we
use. It combines with the whole subject
of tagging product, and we ai'e looldng
at all the options,” he says.

One positive result of the changes to
the })ackaging regulations is that they
may strengthen retailera’ hand in the
bid to establish source-tagging. (Conti-
nental European retailera have been
pressing for anti-theft devices to be
applied to pi-oduct at the point of man-
ufacture (Billboai’d, Nm; 16, 1996), and
the absence of shrink-wrapping would
make it doubly imix>rtant for ta^ to be

Mr. fMoriyukil Kato, is doing a good
job, because under his direction,
JASRAC is looking ahead by getting
royalties from users and negotiating
very energetically,” says an executive
at a leading Japanese music publisher.
“Before, JAS^C would always wait
for new regulations.”

JASRAC’s recently concluded roy-
alty-collection agreement with online
karaoke service operators is a case in
point, he says, emphasizing the need
for such a proactive approach with the
proliferation of new media.

placed inside the packaging.

BARD’s Lewis says, “Security and
theft from stores are all important to
the retailer. We’re looking at Elec-
tronic Ai'ticle Surveillance source-tag-
ging, but that is only effective if the
packaging is then sealed. If shrink-

Along with the 27 Grammys to Dan-
ish and foreign acts, local performers
will be eligible for two additional
prizes: the Tuborg Green Prize and
Danish Broadcasting’s P3 prize, both
based on popularity.

The Grammy jury will again be
divided into two parts, each with 50%
influence. One half will be composed
of 2,(>00 practicing musicians, all mem-
bers of the performing right organi-
zation Gramex, and the other half will
be composed of 90 people from music-
related media.

This year, nomination demanded a
significantly higher number of record
sales for the artists, and any winners
from last year were not eligible.

EMI-Medley and Sony Music (Den-
mark) are running nip and tuck as the
label with the most nominations.
EMI’s headline acts and previous
Grammy winners Dizzy Mizz Lizzy,
TV-2, and Lars H.U.G have all been
nominated in various m^jor categories.
Sony rap act Ostkyst Hustlers won the

wrapping was to be done aw^ay with, it
will jx)se any retailer stocking lire prod-
uct problems unless an alternative form
of sealing is produced. Therefore, we
would w'atch with interest the derelop-
ment of the ‘dog-bone tag.’ ”

most nominations among the individ-
ual performers.

The rappera will be in the running
for the key awards, including those
for band, album, hit single, best rap,
.songwriter, and best album cover. Two
yea!*s ago, Ostkyst Hustlers w'on the
aw'ard for best new band.

SNEP

(Continued from, preceding page)

include the 50-store FNAC, which
accounts for some 25% of record sales
in France. FNAC’s management has
been reluctant to make its data avail-
able to SNER arguing that the chain
did not want to supply its competitors
with strategic market information.

Mirski says that the absence of
FNAC in the sample has been statisti-
cally balanced and that tests have
shown that the sample is a represen-
tative one. He adds, “Negotiations are
still going on with FNAC.”

KOGA, JASRAC LEARN SYMBIOSIS

(Continued from jxige Ji5)

OANISH GRAMMYS SHOW GETS A BOOST

(Continued fwm ^neceding jmge)

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BILLBOARD FEBRUARY 1 . 1 997

Cop/nghted material

HITS OF THE ^ WORLD

JAPAN

(Oempa Publications Inc.) 01/27y97

GERMANY

(Media Control) 01/21/97

U.K.

(Chart-Track) 01/20/97

FRANCE

(SNEP/IFOP/Tfte-Live) 01/18/97

SINGL£S

FACE GLOBE avcxtrax

YOU ARE THE ONE TK PRESENTS KONEHO avex

TRAX

SHIROl KUMONOYOUNI SARUGANSEKI cmumbia

WALTZ KYOSUKE HIMURO POiYOon

STEADY SPEED toy's factory

DONT YOU SEE! ZARD BCRam

PRIDE MIKIIMAI FOR life

CAN'T STOP FAUIN' IN LOVE GLOBE AVtx irax

A WALK IN THE PARK NAMIEAMURO avcxirax

SHAKE SMAP VICTOR

WHITE REFLECTION TWO-MIX kimg

MAFUYUNO KAERIMICHI KHOMI HIROSE victor

SONOMAMANO KIMIOE ITE MAYO OKAMOTO

TOKUUA JAPAN

ALONE MAYO OKAMOTO TOkuma japan

Al NANOA V6 AVEX trax

KOREGA WATASHINO IKIRUMICHI PUFFY epic

SONY

GOMENNE . . . MARIKO TAKAHASHI VICTOR
LEGEND OF WIND TRF avex trax
RAKUEN YELLOW MONKEY fun HOUSE
YELLOW YELLOW HAPPY POCKET BISCUITS TOSHt-

SA-EMI

ALBUMS

MAX MAXIMUM avex trax
L'ARC-EN-CIEL TRUE MOON SONY
YELLOW MONKEY TRIAD YEARS ACT 1 cOiuuBu
GLAY BELOVED platinum

TOSHINOBU KUBOTA LA-LA-LA LOVE THAN6 SONY
GLOBE GLOBE avex trax

TMN TIME CAPSULE— ALL THE SINGLES epicsony
MIDORI KARASHIMA KAZITSU iosmba-cmi
STEVIE WONDER GREATEST HITS polydor
UA 11 VICTOR

FUMIYAFUJII STANDARD pony canyon
VANESSA WILLIAMS ALFIE-THE BEST OF VANES-
SA WILLIAMS MERCURY

SUNNYOAY SERVICE A NIGHT OF LOVE & LAUGH-
TER MN)I

B7 FRIENDS II ROOMS

PEARL PEARL polydor

SYARANQ GOLDEN Q smo japan

VARIOUS ARTISTS DANCE MANIA 4 TOSHIBA EMt

JAMIROQUAI TRAVELLING WITHOUT MOVING EPX;

SONY

MR. BIG BIG. BIGGER. BIGGEST!— THE BEST OF
MR. BIG EASTWEST JAPAN
T-BOUN BALLADS Zajn

nts

LAST

WEEK

SINGLES

TIME TO SAY GOODBYE SARAH 6RIGHTMAN &

ANDREA BOCELLI fastwcsi

DON’T SPEAK NO DOUBT MCA

UN-BREAK MY HEART TONI BRAXTON arsta

(HAVE A DREAM DJ QUICKSILVER arcaoc

WHEN 1 DIE NO MERCY aaiola

VERPISSDICH TICTACTOE rca

DIE UNGSTE SINGLE DER WELT WOLFGANG

PETRY ARIOIA

BREATHE PRODIGY intercobo

WHO WANTS TO LIVE FOREVER DUNE virgin

STEP BY STEP WHITNEY HOUSTON arista

SO STRUNG OUT C-BLOCK wEA

DON'T CRY FOR ME ARGENTINA MADONNA wea

ONE AND ONE ROBERT MILES FEATURING MARIA

NAYLER MOTOR MUSIC

2 BECOME 1 SPICE GIRLS virgin

NEW

DARKMAN NANA MOTOR music

QUIT PLAYING GAMES (WITH MY HEART) BACK-

STREET BOYS ROUGH trade

WHY DONT YOU DANCE WITH ME FUTURE

BREEZE MOTOR musk:

BREAK IT UP SCOOTER edel

PAPARAZZI XZI6IT rca

NEW

ALLES AUS LIEBE DIE TOTEN HOSEN eastwest

ALBUMS

ANDREA BOCELLI BOCELLI polyoor

NEW

DUNE FOREVER virgin

SOUNDTRACK EVITA wea

NO DOUBT TRAGIC KINGDOM mca

TONI BRAXTON SECRETS arista

TIC TAC TOE TIC TAC TOE RCA

SPICE GIRLS SPICE virgin

WOLFGANG PETRY ALLES aroia

CELINE DION FALLING INTO YOU COLUMBIA

BACKSTREET BOYS BACKSTREET BOYS rough

TRADE

NO MERCY MY PROMISE ARiOiA

NEW

SOUNDTRACK THE PREACHER'S WIFE arkta

KEUY FAMILY ALMOST HEAVEN Ejw

ZUCCHERO THE BEST OF ZUCCHERO polydor

ENIGMA LE ROI EST MORT. VIVE LE ROI! virgin

DIE TOTEN HOSEN IM AUFTRAG DES HERRN . . ,

eastwest

SCHLUMPFE VOLL DER WINTER emi

ANOREA BOCELLI VIAGGIO ITALIANO polydor

ANDRE RIEU STRAUSS & CO. polyoor

EROS RAMAZZOni DOVE C'E MUSICA ARiOtA

NETHERLANDS (Sttcming Mega Top lOO) 01 / 25/97

IMS

LAST

WBK

WEEK

SINGLES

DON'T SPEAK NO DOUBT mca

HAKKE t ZAGE GABBER PIET bunny

2 BECOME 1 SPICE GIRLS virgin

DON’T CRY FOR ME ARGENTINA MADONNA warn.

DEWAARHEID MARCO BORSATO polyoOR

FREED FROM DESIRE GALA polydor

1 NEED YOU 3T CPrC

FUCK THE MACARENA MC RAGE lOiT

NEW

PAPARAZZI XZI8IT bug

GOOD TO GO FLAMMAN & ABRAXAS FEATURING

MC REMSY POLYDOR

GABBERTJE HAKKUH6AR roadrunneivloci

UN-BREAK MY HEART TONI BRAXTON BUG

NEW

PONY GINUWINE epic

NEW

WHEN 1 DIE NO MERCY BMG

AiCHA KHALED polydor

NEW

1 FINALLY FOUND SOMEONE BARBRA STREISAND

& BRYAN ADAMS polyoor

LAST NIGHT AZ YET ewG

1 AINT MAD AT CHA 2PAC mercury

1 CAN’T HELP MYSELF KELLY FAMILY EMi

NEW

STEP BY STEP WHITNEY HOUSTON BMG

ALBUMS

NEW

MARCO BORSATO OE WAARHEIO polyoor

NO DOUBT TRAGIC KINGDOM mca

CELINE DION FALLING INTO YOU COmuBU

ANDREA BOCELLI BOCELLI polvdor

TONI BRAXTON SECRETS bmg

HELMUT LOm HELMUT LOTTI GOES CLASSIC 11

BMC

TOTAL TOUCH TOTAL TOUCH bmg

FRANS BAUER VOORJOU THArs entertmnment

MARCO BORSATO ALS6EENAN0ER pOLYDOR

SPICE GIRLS SPICE vwGiN

BZN A SYMPHONIC NIGHT mercury

ENIGMA LE ROI EST MORT. VIVE LE ROI! virgin

ANDRE RIEU IN CONCERT mercury

BACKSTREET BOYS BACKSTREET BOYS jive/jouba

KEUY FAMILY ALMOST HEAVEN EUi

ANDREA BOCELLI VIAGGIO ITALIANO POiYDOR

NEW

SOUNDTRACK EVITA warmer

PAVAROni 1. FRIENDS FOR WAR CHILD OCCCA

LINDA. RODS & JESSICA LINDA. ROOS & JESSICA

01 NO

NEW

BOUDEWIJN DE GROOT WONDERKIND AAN HET

1HS

WCEK

SINGLES

YOUR WOMAN WHITE TOWN briuiant!,chrvsalis
WHERE DO YOU GO NO MERCY Ma'ARiSTA
PROFESSIONAL WIDOW TORI AMOS eastvycsi
SAY WHAT YOU WANT TEXAS mercury
BEETLEBUM BLUR foo{VPWR.Ophone
GET UP (EVERYBODY) BYRON STINGILY uam-
festomcrcurv

PEOPLE HOLD ON (THE BOOTLEG MIXES) LISA
STANSFIELO VS. DIRTY ROHEN SCOUNDRELS

APISTA

DON'T CRY FOR ME ARGENTINA MADONNA Warn-
er BROSjWEA

QUIT PLAYING GAMES (WITH MY HEART) BACK-
STREET BOYS JIVE

COME BACK BRIGHTER REEF S0NYS2
UN-BREAK MY HEART TONI BRAXTON
LAFACC/ARtSTA

HEY CHILD EAST 17 iOnoon

DONT LET GO (LOVE) EN VOGUE EAStWEST AMERICA

2 BECOME 1 SPICE GIRLS virgin

I CAN KIAKE YOU FEEL GOOD KAVANA nemesis^ir.

GIN

STEP BY STEP WHITNEY HOUSTON aPtSTa

ONE AND ONE ROBERT MILES FEATURING MARIA

NAYLER DECONSTROCIION

OVER AND OVER PUFF JOHNSON coeumbia

THE OLDER EP GEORGE MICHAEL virgin

SATAN LIVE ORBITAL interhal\onoon

ALBUMS

SPICE GIRLS SPICE VWGW

VARIOUS ARTISTS THE NO. 1 MOTOWN ALBUM

POLYGRAM TV

BEAUTIFUL SOUTH BLUE IS THE COLOUR G0>

DISCS

VARIOUS ARTISTS MINISTRY OF SOUND— THE
ANNUAL It MINISTRY Of SOUND
SOUNDTRACK EVITA wapnfr brosjwea
FUGEES THE SCORE RUfFHOUSe/COluMaiA
GEORGE MICHAa OLDER virgin
MANIC STREET PREACHERS EVERYTHING MUST
60 EPIC

CELINE DION FALLING INTO YOU EPIC
UGHTHOUSE FAMILY OCEAN DRIVE WNi>

CARCVPOIYOOR

SIMPLY RED GREATEST HITS eastwest

TONI BRAXTON SECRETS uface/apista

KULA SHAKER K COUImbu

ROBERT MILES DREAMLAND deconstruction

BUSH RAZORBLADE SUITCASE interscopeaka

AUNIS MORISSETTE JAGGED LITTLE PILL maver-

lOWEA

VARIOUS ARTISTS HITS 97 warnerauobausony
JAMIROQUAI TRAVELLING WITHOUT MOVING sonys2
SLADE FEEL THE NOIZE-GREATEST HITS polyoor
OASIS (WHAVS THE STORY) MORNING GLORY? creation

SMGL£S

FREED FROM DESIRE GAU SCORPIO
PARTIR UN JOUR 2 BE 3 Eui
SAY YOU'LL BE THERE SPICE GIRLS virgin
BAILA ALLIAGE baxoance
I NEED YOU 3T epic

EVERLASTING LOVE WORLDS APART dla
DA FUNK DAFT PUNK LABEiSivnciN
JE SERAI LA TERI MOISE sourcemrgjn
BAILANDO PARADISIC CNR
VISION OF LIFE DOWN LOW uascotte
INSOMNIA FAITHLESS happy MUSKt
TOUJOURS LA POUR TOI 2 BE 3 EM
IT’S ALL COMING BACK TO ME NOW CELINE
DION COUIMBIA

JE TE PRENDRAI NUE DANS LA SIMCA 1000 LES
CHEVALIERS DU HEL flapenas
LET A BOY CRY GALA SOOrpio
HOW BIZARRE OMC paYODR
BOHEMIAN RHAPSODY BRAIDS EASTWEST
REVER MYLENE FARMER pOIYOOR
UN-BREAK MY HEART TONI BRAXTON arista
DONT SPEAK NO DOUBT mca

ALBUMS

MYLENE FARMER ANAMORPHOSEE polydor
SOUNDTRACK EVITA WEA
CaiNE DION LIVE K PARIS OXDMeiA
SPICE GIRLS SPICE virgin
NOIRDESIR 66666.7 CLUB bapcxay
3T BROTHERHOOD EPIC
WORLDS APART EVERYBODY DiA
JUUO IGLESIAS TANGO coeumbia
CaiNE DION FALLING INTO YOU CCiumbia
EDDY MITCHELL MR. EDDY poiydor
FUGEES THE SCORE

JAMIROQUAI TRAVELLING WITHOUT MOVING
SMJk.Ll.

TERI MOISE TERI MOISE sourceajirgin

LESENFOIRES LA SOIREE DES ENFOIRES 96 wcA

CaiNE DION D'EUX COLUMBIA

MICHAEL JACKSON HISTORY; PAST, PRESENT AND

FUTURE— BOOK 1 epic

KHALED SAHRA Barclay

LES RITA MITSOUKO EN CONCERT PRIVE OCiA-

BCUVIRCIN

ALANIS MORISSETTE JAGGED LITTLE PILL svea
CRANBERRIES TO THE FAITHFUL DEPARTED
BLAND

CANADA

(SoundScan) 02/01/97

AUSTRAUA

(ARIA) 01/26/97

ITALY

(Musica e DischL/FIMI) 01/2CV97

LAST

WBK

SMGLES

GOD BLESS THE CHILD SHANIA TWAIN uERCUftv
WHERE DO YOU GO NO MERCY arista
ONE AND ONE ROBERT MILES FEATURING MARIA
NAYLER ARISTA

UN-BREAK MY HEART TONI BRAXTON

LAFACC/ARISTA

YOU MUST LOVE ME MADONNA wapncpbros.

GET DOWN (YOU'RE THE ONE FOR ME) BACK-
STREET BOYS JIVE

DON’T LET GO (LOVE) EN VOGUE EASTWEST
IT'S ALL COMING BACK TO ME NOW CELINE
DION COUIMBU

WHEN YOU'RE GONE CRANBERRIES island
YOU'RE MAKIN’ ME HIGH TONI BRAXTON
lAFACEfARlSTA

UP TO NO GOOD PORN KINGS popularwarner
DO YOU MISS ME? JOCELYN ENRIQUEZ tommy boy
THIS IS YOUR NIGHT AMBER tommy eor
CHANGE THE WORLD ERIC CLAPTON rcprisc
THIS IS FOR THE LOVER IN YOU BABYFACE epic
BREATHE PRODIGY XL recoroikgs
FIRESTARTER PRODIGY xlreoordihos
HERO OF THE DAY METALUCA eiektra
NOBODY KEITH SWEAT FEATURING ATHENA CAGE
aCKTRA

THA CROSSROADS BONE THUGS N-HARMONY
RUTHUSSiRELAnvirY

AIBUMS

BACKSTREET BOYS BACKSTREET BOYS jive
NO DOUBT TRAGIC KINGDOM interscopea>ica
CELINE DION FALLING INTO YOU Columbia
VARIOUS ARTISTS MUCHMUSIC’S BIG SHINY
TUNES MCA

SOUNDTRACK SPACE JAM rhinowarner
BUSH RAZORBUOE SUITCASE interscop&uca
ALANIS MORISSETTE JAGGED LIHLE PILL maver

H9VWARNER

VARIOUS ARTISTS DANCE MIX '96 QUAiirr
SOUNDTRACK ROMEO + JUUE7 capitol/emi
SOUNDTRACK EVITA warnerbros.

TONI BRAXTON SECRETS laface/arista
SHERYL CROW SHERYL CROW aam
CaiNE DION LIVE A PARIS COIumbu
MOIST CREATURE CMi

AMANDA MARSHALL AMANDA MARSHALL EPIC
VARIOUS ARTISTS GROOVE STATION 3 aaiola
ALAIN MORISOO GRANGES CHANSONS S£i
ELTON JOHN LOVE SONGS mca
MARIE MICHELE OESROSIERS NOEL sa
SHANIA TWAIN THE WOMAN IN ME mercury

SINGL£S

FREAK SILVERCHAIR muruurbony
BREAK MY STRIDE UNIQUE 2 DANCE POOL^SONy
TO THE MOON ABACK SAVAGE GARDEN rooart
I FINALLY FOUND SOMEONE BARBRA STREISAND
& BRYAN ADAMS a&m

(IF YOU'RE NOT IN IT FOR LOVE) I'M OUTTA

HEREI SHANIA TWAIN mercury

BREATHE PRODIGY DANCE POOl/SONV

DONT SPEAK NO DOUBT inierscope^niversal

UN-BREAK P4Y HEART TONI BRAXTON BUG

WANNABE SPICE GIRLS virgin

WHERE DO YOU GO NO MERCY bug

TWISTED KEITH SWEAT wea

WHAT’S LOVE GOT TO DO WITH IT WARREN G

FEATURING ADINA HOWARD intersoqpeajnivCRSal

SEXY EYES WHIGRELD tk&bmg

WISHES HUMAN NATURE COiumbu

DONT CRY FOR ME ARGENTINA MADONNA wea

THIS IS YOUR NIGHT AMBER uBERATOfVFESDVAL

STEP BY STEP WHITNEY HOUSTON bmc

C'MON N' RIDE IT (THE TRAIN) QUAD CITY OJ’S

EASTWEST

ALL I WANT OFFSPRING COiumbu

HEY JUPITER/PROFESSIONAL WIDOW TORI AMOS

EASTWEST

ALBUMS

SOUNDTRACK ROMEO 4- JUUET ean
CROWDED HOUSE RECURRING DREAM— THE
VERY BEST OF CROWDED HOUSE EMI
CORRS FORGIVEN. NOT FORGOHEN EASTWEST
POWDERFINGER DOUBLE ALLERGIC polydor
CELINE DION FALLING INTO YOU EPIC
ALANIS MORISSETTE JAGGED LITTLE PIU wea
HUMAN NATURE TELUNG EVERYBODY coiUMBtA
SIMPLY RED GREATEST HITS eastwest
SPIOERBAIT IVY & THE 816 APPLES pckyoor
TONI CHILDS THE VERY BEST OF TONI CHILDS

ABM

JAMIROQUAI TRAVELLING WITHOUT MOVING

COUJMBIA

LEANN RIMES BLUE curbsomy
NO DOUBT TRAGIC KINGDOM mterscopeajniversal
SOUNDTRACK EVITA wea
TONI BRAXTON SECRETS bmg
SOUNDTRACK SPACE JAM eastwest
JIMMY BARNES HITS uusMiooMirESTivAi
VANHALEN BEST OF VOLUME 1 wea
PRESIDENTS OF THE UNITED STATES OF AMERI-
CA II COLUMBIA

SHANIA TWAIN THE WOMAN IN ME meacury

«MSK|WEEK

SINGLES

ONE AND ONE ROBERT MILES FEATURING MARIA
NAYLER oextTlTiNG

THE RIDE ON THE RHYTHM BLACKW(X)D au>

BOHEMIAN RHAPSODY BRAIDS wcA

DONT CRY FOR ME ARGENTINA MADONNA wea

ENCORE UNE FOIS SASH! fmjv?ac

BORN SLIPPY UNDERWORLD DO it vourself/mg

REVENGE O.J. DADO time

VOO-DOO BELIEVE DATURA time

TICTtCTAC LOS LOCOS new music

COSMIC GIRL JAMIROQUAI S0NYS2

LOVE IS LEAVING BOY GEORGE time

TIME GOES BY CHARLIE DOPE BUStirr LOOGEAJIG IT

OCEAN WHISPERS RAF BY PlCOHO MEOuvFLnNG

INSOMNIAK GROOVEMAN oancc factory/em<

STEP BY STEP WHITNEY HOUSTON bmc
BREATHE PRODIGY uOPitMSCOPHj
DEDICATED MARIO PIU meoumflying
DISCO BLU DISCO BLU (XCFFDSPAce
NO WOMAN NO CRY FUGEES coujubu
BREAKOUT (REMIX '96} JIMMY CUFF newmusk
ALBUMS

LITFIBA MONDI SOMMERSI EUi
ZUCCHERO THE BEST OF ZUCCHERO pixydor
SPICE GIRLS SPICE wRcm
SOUNDTRACK EVITA wEA
LUCIO DALLA CANZONI PRESSING
CLAUDIO BAGLIONI AHORI E SPETTATORI

COLUMBIA

LIGABUE BUON COMPLEANNO ELVIS wea
LOS LOCOS ELTICTICTAC new music
SIMPLY RED GREATEST HITS cco eastwest
JUUO IGLESIAS TANGO COiumbu
RAF COLLEZIONE TEMPORANEA CGO
EROS RAMAZZOTTI DOVE C'E MUSICA 000
CELINE DION FALLING INTO YOU cnuuBU
FRANCO BATTIATO BATTIATO STUDIO COLLEC-
TION EUI

RENATOZERO LEORIGINI rti

MINA CREMONA POU

ART1C0L0 31 COSI' COM'E’ fOCOftOi

POOH AMICI PER SEMPRE CGO

FRANCESCO GUCCIN1 D'AMORE 01 MORTE E Dl

ALTRE SCI0CCHE2ZE tm

FRANCESCO DE GREGORI PRENDERE E LASCIARE

COUIMBIA

Hits Of The World is cofTrpiled at Billt»ard/London by Bob Macdonald. Contact 44-171-323-6686. fax 44-171-323-2314/2316.

NEW - New Entry RE = Re-Entry

BILLBOARD FEBRUARY 1. 1997

HITS OF THE WORLD

tsi

rsi

EUROCHART

Oi/22/97

TW5

LAST

TMS

LAST

MEEK

WCEK

ALBUMS

WEEK

MICHAEL LEARNS TO ROCK PAINT MY LOVE—

GREATEST HITS emi

SUDIRMAN DWIOEKAO CMi

NEW

VARIOUS ARTISTS 4 ZAI Bl OE EM

SOUNDTRACK SPACE JAM wmnfk

EMIL CHAU LIVING WITH EMIL CHAU Roex

NEW

DICKY CHEUNG JOURNEY TO THE WEST ROCK

CELINE DION FALLING INTO YOU SONY

VARIOUS ARTISTS DANG OANGDUT Warner

SPICE GIRLS SPICE EMi

ROD STEWART IF WE FALL IN LOVE TONIGHT

NEW

WARNER

SINGLES

UN-BREAK MY HEART TONI BRAXTON
lAFACt/AfllSTA

ONE AND ONE ROBERT MILES FEATURING MARIA
NAYLER DBx

DONT CRY FOR ME ARGENTINA MADONNA waan
0)BROS

DONT SPEAK NO DOUBT inurscoalmca
BREATHE PRODIGY xirecokoings
FREED FROM DESIRE GALA DO it yourseiF/SCORPIo
TIME TO SAY GOODBYE SARAH BRIGHTMAN &
ANDREA BOCELLI eastwe$t
2 BECOME 1 SPICE GIRLS virgin
QUIT PLAYING GAMES (WITH MY HEART) BACK-
STREET BOYS jrvc

SAY YOU'U BE THERE SPICE GIRLS vtrgm

ALBUMS

SPICE GIRLS SPICE virgin
SOUNDTRACK EVITA warmer 6ROS
TONI BRAXTON SECRETS iafacdwiSTA
CELINE DION FALLING INTO YOU tHOOOUWeM
NO DOUBT TRAGIC KINGDOM inierscopcuca
ANDREA BOCELLI BOCELLI sugarkuydor
FUGEES THE SCORE ruffhouse/couimbm
SIMPLY RED GREATEST HITS eastyfesf
ZUCCHERO THEBESTOFZUCCHERO POIyoor
GEORGE MICHAEL OLDER vMGiN

TMS

WEEK

MALAYSIA

(RIM) 01/21/97

SWEDEN

(GLF) 01/17/97

SPAIN

(TVE/AFYVE) 01/11/97

LAST

WEEK

NEW

SINGL£S

BREATHE PRODIGY Caaounc

PILOO DAVID FASTIS & DAVID BUENRI iaax music

THIS GROVE FREE maxmusc

ONETIME DEVIL OJ'S mmmusc

AL BOSQUE NAVB-3 AZ>Gir«G£R

EXTRES-A-2 EX-3 GiNGCR

LA TRAMPA NACHO CANO virgin

BELLISIMA— I HAVE A DREAM OJ QUICKSILVER

CNRARCAOC

YOU li YOU NATASHA HAGEN slancoy NEGRO
DSIGUAL VOL 2 DSIGUAL ginger

ALBUMS

SPICE GIRLS SPICE virgin

ROSANA LUNAS ROTAS mca

JULIO IGLESIAS TANGO CSS^SONy

ANA. MIGUEL. VICTOR & SERRAT EL GUSTO £S

NUESTRO ARiOLA

ELLA BAILA SOLA ELU BAILA SOU mispavox
ROSARIO MUCHO POR VIVIR vnc
CROWDED HOUSE RECURRING DREAM— THE
VERY BEST OF CROWDED HOUSE wspavox
LOS RODRIGUEZ HASTA LUEGO DRO
UURAPAUSINI US COSAS QUE ViVES ORO
LUZ PEQUENOYGRANDES EXITOS niSRAvOx

PORTUGAL

(PDftugaUAFP) 01/21/97

ALBUMS

DELFINS SABER A MAR bug

RIO GRANDE RIO GRANDE iui

PEDRO ABRUNHOSA&BANDEM TEMPO foiydoR

SPICE GIRLS SPICE virgin

LUIS REPRESAS AO VIVO NO CCB emi

ROXEHE BAUDAS EN ESPANOL emi

QUEEN GREATEST HITS I & II emi

NO DOUBT TRAGIC KINGDOM interscor&mca

TONI BRAXTON SECRETS bmg

JULIO IGLESIAS TANGO Sony

DENMARK

<IFPI/Nicls«n Marketing Research) 01/16/97

THS

LAST

SmCLES

IMS

LAST

WCEK

SINGLES

UN-BREAK MY HEART TONI 6RAXT0N 6MC

ROSES ARE RED AQUA liNivERSAi

BREATHE PRODIGY maw

UN BREAK MY HEART TONI BRAXTON bmg

1 BREATHE VACUUM stockiioem

DON'T SPEAK NO DOUBT UNivtRSAL

DONT SPEAK NO DOUBT mca

NEW

ONE AND ONE ROBERT MILES FEATURING MARIA

BOHEMIAN RHAPSODY BRAIDS waancr

NO DIGGITY BLACKSTREET (FEATURING OR ORE)

NEW

CALLING YOUR NAME E-TYPE Stockholm

STEP BY STEP WHITNEY HOUSTON bmg

IF YOU EVER EAST 17 FEATURING GA6RIELLE

2 BECOME 1 SPICE GIRLS vwom

INSOMNIA FAITHLESS Scandinavian

NEW

WE VIE STAKKA BO & TITIYO WITH FLESHQUAR-

BREATHE PRODIGY xl RCCOAOingsmb

TET AND NAID esvLRAGL

NEW

QUIT PLAYING GAMES (WITH MY HEART) BACK-

ALBUMS

STREET BOYS virgin

NEW

BARBRA STREISAND A COLLECTION -GREATEST

ALBUMS

HITS . . . AND MORE sow

TONI BRAXTON SECRETS bmg

VAYA CON DIOS THE BEST OF VAYA CON DIOS

CELINE DION FALLING INTO YOU sony

BMC.

LENE SIEL MINE FAVORlHER CMC

SMURFARNA SMURFHITS 1 CMR

HASSAN TILLVARATAGNAEFFEKTERVOL 5

OSTKYST HUSTLERS FULDAFLOGN sony

SOUNDTRACK EVITA warkcr

KISS GREATEST HITS polygram

VAYA CON DIOS THE BEST OF VAYA CON DIOS

NEW

TONI BRAXTON SECRETS bug

BUG

NEW

JUMPER JUMPER mctronouc

NEW

RUNRIG LONG DISTANCE-THE BEST OF RUNRIG

ROD STEWART IF WE FALL IN LOVE TONIGHT

CMI MCOICY

WARMR

NEW

MR. PRESIDENT WE SEE THE SAME SUN Warner

NORWAY (Vefdons Gang Norway) 01/21/97

FINLAND <Soura/1FPI FinlaiKl) 01/1W97

Tits

LAST

WEB(

WEEK

SMGL£S

WEEK

SINGLES

DONT SPEAK NO DOUBT urevCRSAi

BREATHE PRODIGY XL RtcoROiNGS/SMD

UN-BREAK MY HEART TONI BRAXTON 6MG

ANNA MULLE PIISKAA APULANTA icwvhik)

2 BECOME 1 SPICE GIRLS virgin

A UmE BIT PANDORA mca

WHEN YOU'RE GONE CRANBERRIES polygram

NEW

VALLATJAVAET CMX herode&tmi

ONE AND ONE ROBERT MILES FEATURING MARIA

ERITTAIN HYVA (ELLEI TAYDEUINEN) MASCARA

NAYLER BMG

POIYOOR

NO DIGGITY BLACKSTREET (FEATURING DR. DRE)

NEW

FIRESTARTER PRODIGY xl recordings>smo

RESPECT YOURSELF O.J. BOBO uwtvK TU

BOHEMIAN RHAPSODY BRAIDS warncr

NEW

DONT CRY FOR ME ARGENTINA MADONNA WEA

1 CANT HELP MYSELF KELLY FAMILY CMi

NEW

FLAVIO MOVETRON POlydor

NEW

QUIT PLAYING GAMES (WITH MY HEART) BACK

NUMBER ONE ALEXIA OANa pool/SOW

STREET BOYS jive/zomba

ALBUMS

NO DOUBT TRAGIC KINGDOM mca

NO DOUBT TRAGIC KINGDOM i>niversal

EPPU NORMAALI REPULUNEN HITTEJA POKO

SANTANA SUMMER DREAMS Sony

SMURFFIT TANSSIHITIT VOL. 1 EMi

SPICE GIRLS SPICE virgin

SPICE GIRLS SPICE EMi

CRANBERRIES TO THE FAITHFUL DEPARTED poly-
gram

TONI BRAXTON SECRETS bmg

NEW

MR. PRESIDENT UP'N AWAY (THE SPECIAL

TOTO GREATEST HITS sow

ALBUM) wtA

NEW

SOUNDTRACK EVITA warmer

VANESSA-MAE THE VIOLIN PLAYER emi

KELLY FAMILY ALMOST HEAVEN EMi

ENIGMA LE ROI EST MORT. VIVE LE ROI! CMi

SUEDE COMING UP sow

AIKAKONE TOISEEN MAAILMAAN bmg

WHAM! THE FINAL SOW

TOTO LE6END-THE BEST OF TOTO SOW

GLOBAL

MUSIO PULSE

THE LATEST MUSIC NEWS FROM AROUND THE PLANET

EDITED BY DAVID SINCLAIR

BOSNIA: With the emergence of about 30 new bands, a dynamic punk and altemati\’e rock scene
devxjloped in the besieged capital of Sanyevo during the 1^2-95 war here. In April 1996, 14 of these
new acts participated in an album of live recordings called “Rock Under Siege A,” which was
released under the auspices of Radio Zid (Radio Wall). In November 1996, many of these performers
were joined by acts frem Slovenia for two concerts at the Sloga (Harmony) club in Sar^evo, an
occasion that was only made i>ossibIe thanks to a special lifting for two nights of a curfew; which is
still in effect Now’ Radio Zid has put out a new album called “Rock Under Siege B,” featuring stu-
dio recordings by 12 Sarajevo bands, including the Moron Brothers, Maelstrom, Down, Green
Cheese, Protest and Quasimind. The songs reflect the latest musical trends, many with lyiics that
are steeped in the harsh realities of life in this w’ar-torn region. PETAK ja.njatovk:

BULGARIA/BELGIUM: After six years as a top Bulgarian model, Petia Pavlova launched a new’
career as a singer w’hen she released her debut album, “Suniat” (The Dream), in 1994. The following
year she recorded 14 songs from films and musicals for “Let’s Make Ixjve,” an album released to
mark the 100th anniversary of the cinema. “A Fine Romance”
from that album w’as widely acclaimed as one of 1995’s best
music videos by a Bulgarian act. Now’ she has released a new’
single, “Good Times.” under the name Petty Paul. A mixture of
girlie pop and uptempo house, the song w’as penned by the Bel-
gian songw’iiting team of Frank Van Sandt, Rick Van Sandt,
and Chalina and features rap vocals by Marky V. Recorded in
Belgium and mixed in Bulgaria, the record was released joint-
ly by Inside Records (Belgium) and Pulse Recoi’ds (Bulgaiia) and will be distributed in both coun-
tries. The video for the song has already been showm several times on international music-TV
channel MCM. Meanwhile, Pavlova’s mcxleling career continues: Petty Paul is the new face for
Pepe Jeans London in Bulgaria. chavdar chendov

IRELAND: Gael-Linn, the organization that pi’omotes the use of the Irish language, has taken the
unusual step of issuing an album of children’s songs in English, “When I Was Young,” on a new
label, Fenn Recoi*ds. It followTs the success of a 1994 collection of Gaelic songs, “A Stor’s A Stoirin”
(subtitled “Songs For All Ages”), which featui*ed 36 traditional songs for adults and children, many
of them recoi*ded for the first time. “When I Was Young” includes 28 ti’acks by the same artists
w'ho |>erformed on “A Stor’s A Stoirin,” namely the husband-and-wife singers Lan Graham and
Padraigin Ni Uellachain and guitarist/mandocellist Garry O Briain. Ni U^llachain composed and
sang the title treck for a feature film, “Branw’en,” which premiered at the 1994 London Film Fes-
tival. 0 Briain, a multi-insti’umentalist and instrument maker, toure internationally with the grou|)s
Skylark and Buttons And Bows and the Mairtin O Connor band. During Graham’s visits to
schools in Noi’thern Ireland as part of a traditional-music progi’am, many teachere from all sec-
tions of the community suggested that he record certain songs, and “When I Was Young” Ls the
result of their I’equests. The best-knowm number on the album is probably “I Know’ Where I’m
Going," w'hich w’as published early this century in the first volume of “Irish Country Songs’’ by
Herbert Hughes. ken stewart

AUSTRIA: Vienna is alive with the sound of music. Many big theatere in the capital ai’e current-
ly staging miLsicals, including “Cabaret,” “Anatevka,” “She Lores Me,”
and “Elisabeth.” Now' one of the stars of “Elisabeth,” the German
singer Uwe Kroeger, has released his second album, “Favourites”

(RCA Victor). Most of the titles on the international version of the CD
are in English, including songs from “Miss Saigon,” “Evita,” and
“Starlight Express.” The album was produced and arranged in Vien-
na and I.4)s Angeles by Martin (lellner and Werner Stranka for Beat
4 Feet Productions. According to Gellner, the album features well-
know'n hits arranged w’ith an unusual twist. “It is music with jazz,

rock, and pop influences, done in a new way,” he says. manfred schreirkr

NETHERLANOS/BELGIUM: The “Belgian ware” of bands that is cuiTcntly sweeping the Netherlands,
incor|)orating acts such as dEUS, Moondog Jr., K’s Choice, and Metal Molly, gets sU'onger all the
time. But it is sUll very rare for a Belgian act to be signed directly to a Dutch reconl company.
However, that Ls w'hat happened to Keaton, a five-piece band named after the comedian Buster
Keaton. Hailing frem Wallonia, the French-speaking part of Belgium, Keaton is now on the Colum-
bia roster in the Netherlands. Initial interest was sparked by the group’s inclusion on an indepen-
dently released compilation, “Europa Connection,” featuring artists from various European terri-
tories. Now Keaton’s debut album, “Intravenous,” which w'as recorded in the Haute Regal’d studio,
outside Liege in East Belgium, ha.s been released. Although the so-called Belgian wnve is talked
about as a “movement,” the acts involred are very different from one another, and Keaton is no
exception. The band’s music is a mi.xturc of rock, |)op, psychedelia, and industrial, with occasional
echoes of American heavj'weights such as Alice In Chains. While the firet single, “Kill Me,” is
accessible, multiformat pop, other songs on the album are a lot more difficult to appreciate on first
hearing. Sony Music Holland introduced the band to the company’s foreign affiliates and the media
at a special showcase organized during the Noorderslag trade fair in January. ROliRERT TILLI

U.K.: Some of the country’s top R&B singers, including Fayaz Simpson (of Nu Colours), Chris
Ballin, Juliet Roberts, and the members of M People, were in a packed audience at a London club,
the Spot, to hear Paul Johnson perform his first solo gig in six years. Johnson \vent into semi-
retirement after being dropped by CBS (Columbia) but has recently toured and recorded with M
People, He is now signed to Copasetic Records and has a new album scheduled for release in the
spring. KWAKU

BILLBOARD FEBRUARY 1. 1997

International

Canada

4AD Imports Icelandic
‘Madness’ Of Gus Gus

T HE SONIC MONTAGES and
songs created by Reykjavik, Ice-
land’s Gus Gus for its debut
album, “Polydistortion,” defy
easy description. But Lewis
Jamieson, who signed the ensem-
ble to 4AD in London, gave it a
try.

“In Iceland, everything is im-
ported,” he says, “so you get this
blending of Detroit house with
English techno with Belgium
beats — and the ‘madness’ endem-
ic in the Icelandic
nature.”

Certainly “mad-
ness” here is a com-
pliment to a group
that Jamieson de-
scribes as “very much
boundary breakers.”

Gus Gus — the group
takes its name from
Rainer Werner
Fassbinder's 1973
film “Manchman Gus
Gus Gut” and Gus
Van Zant's movie
“My Own Private
Idaho” — has its roots
in the filmmaking of
Stefan Arni and
Siggi Kjartansson.
who in 1995 recruited a multital-
ented cast, including Daniel
Agust, Magnus Jdnsson, and
Hafdfs Huld, for a film and
soundtrack project that evolved
into this recording ensemble.

“This is the most exciting
thing I’ve heard for years,” says
Jamieson, who was turned on to
Gus Gus via an Iceland-only
indie release in late 1995. He
subsequently passed a tape to
4AD founder Ivo Watts-Russell
and Robin Hurley in the label’s
Los Angeles office. “Ivo came
back saying, ‘I love it,* ” recalls
Jamieson. “What I like about
everything they Ho is the combi-
nation of their talents. They’re
at the cutting edge of dance and
soul.”

The band’s first U.K. single,
“Polyesterday,” which has gotten
exposure on BBC Radio One FM,
is a trippy combination of ambient
atmosphere, funky guitar, elec-
tronic tape loops, and dreamy
lyrical images.

“When you’ve got the Prodigy
at No. 1, it’s clear that kids fin
Britain] are more amenable to
electronic music,” says Jamieson.
“Gus Gus are challenging the sta-
tus quo, whatever it may be.” And
in that way, the band follows the
4AD tradition. “What the Pixies
did with guitar music, they do
with electronic music,” he says.

While promotion of Gus Gus
has come largely through dance
club exposure thus far, the group
will play its first live date in Lon-
don Feb. 13 at Hammersmith’s
Riverside Studios; the setting will
mix music with film, theater,
graffiti, “and anything else we
feel is appropriate,” says Jam-
ieson. “What we want to do is not

a gig as such, but an event that
will reflect some of the range of
the band’s talents.”

Another single, the electronic
bass-powered “Believe,” will be
released in the U.K. Feb. 17.
Meanwhile, “Polydistortion” is
due for release this spring on
4AD/Reprise in the U.S.

“There is a real belief at 4AD in
the States that this will break
into the mainstream,” says
Jamieson of Gus Gus. “This group
is not afraid of try-
ing new things and
that sense of pur-
pose is fired
through everything
they do.”

G EORGE WIN-

STON, who has
spent more than
four months at No. 1
on the Top New Age
Albums chart with
his Windham Hill
set “Linus & Lucy —
The Music Of Vince
Guaraldi,” embarks
on an European
tour Feb. 7 in Paris
that runs through
early March. Then beginning
March 19, Winston starts a 12-
date tour of Japan, which is to be
followed by performances in Tai-
wan, Hong Kong, Thailand, and
Australia.

Border crossings: in the

wake of Babybird’s chart suc-
cess in the U.K., the Echo act
opens its first European tour
Thursday (30) in Cologne, Ger-
many, while the single “Candy
Girl” is released in Britain as a
follow-up to the top 5 hit “You’re
Gorgeous” . . . Garth Brooks is
already booked to perform two
outdoor concerts May 16 and 17
at Croke Park in Dublin. Ireland
remains Brooks’ most loyal mar-
ket outside the U.S. ... “A Col-
lection of Festival Highlights” is
an album compiled by Radio
Netherlands to highlight the
range of international talent
recorded by the service at Dutch
festivals in recent years, includ-
ing Mali’s Salif Keita at the
World Roots Festival in 1995;
Brazil’s Gilberto Gil at the Viva
Brasil event staged in Amster-
dam, also in 1995; and Cuban
composer/ keyboardist Jesus
Chucho Valdes at the Music
Meeting festival in Nijmegen in
1993. More information on the
release is available via on Radio
Netherlands’ World Wide Web
site (http://www. rnw. nl).

Home & Abroad w a b hveekly col-
limn spotlighting the activity of
the international music business
and artists outside their home
markets. Information may be sent
to Thom Duffy, Billboard, 23
Ridgmount St., London, WClE
7 AH, or faxed to U-I7I‘323-23I6.

HOME&

ABROAD

l&i

by Thom Duffy

‘Bedazzler’ is MAdE For Universal

Toronto Lo-Fi Pop Act Debuts On Major

■ BY LARRY LeBLANC

TORONTO — ^With the release of its lo-
fi pop album “Bedazzler" on MCA Rec-
ords here Tuesday (28), MAdE will
shake off, albeit reluctantly, its status
as an independent band.

When Brian Hetherman, director of
A&R at Universal Music Canada, first
sought to sign the quirky Toronto-
based quartet, he discovered that its
members — Jason Taylor (lead vocals,
guitar), Simon Bedford (guitai*), Frank
(luidoccio (bass), and Alison MacLean
(drums) — were deadset against sign-
ing with a major.

“They were one of the most anti-
major-label bands I’d ever met,” says
Hetherman.

“Our fear was losing control of how
our music would be repi’esented,” sa^'s
Taylor. “Ob\'iously, when you get anoth-
er party invoked, investing money, they
want a say in what you do, and you’re
exixjcted to make compromises. We’ve
found that once you get past the com-
pany logo, and meet the people, they
really ai*e good j^ople. We couldn’t be
happier.”

To set up the album. Universal
Music Canada blanketed Canadian
retail, media, and college radio in
December with a three-song CD fea-
turing key tracks “Hairdown,”
“Smudge,” and “Fun Of You.” The
company will support the album
nationally with outdoor advertising,
radio time buys, and a trade and con-
sumer print campaign.

On Jan. 13, Universal Music Canada
serviced the album’s leadoff track,
“Hairdown,” to Canadian top 40, album
rock, and modern rock radio. A video
of the track, directed by Javier (54:40,
Corey Hart, Ashley Macisaac), will be
delivered Feb. 4 to MuchMusic and
MusiquePlus.

The first to add “Hairdown” was
modern rock CITI Winnipeg, Manito-
ba. “It’s a perfect record for us, sound-
wise,” says music director Barry Tay-
lor. “It has a great hook and chorus.”

Additionally, the band is doing a four-
city showcase tour for media and retail
Feb. 3-4 in Vancouver; Feb. 5-6 in Cal-
gary, Alberta; and Feb. 17-18 in Mon-
traal. With its Canadian labelmates
Of Electric, MAdE will perform Feb.
12 at a Toronto music-industry party to

CELTIC HEARTBEAT

(Continued from page 45)

and its No. 13 placing on the year-end
charts for 1996. Celtic Heartbeat has
also introduced many Irish artists to
the international stage, including the
young choir Anuna and Frances Black.
In addition, the label is working on
Whelan’s soundtrack for the political-
ly charged film “Some Mother’s Son.”

(^Itic Heartbeat is widely credited
with spearheading the current popu-
larity of Celtic music, which dominates
the world music and new age charts.

The Corrs, who are signed through
a separate deal with 143 Records and
Atlantic’s Lava imprint, are not affect-
ed by this deal, and are understood to
be staying with Atlantic and Warner
Music International.

Atlantic executives could not be
reached for comment at press time.

launch the Universal Music name in
Canada.

To build support for the band within
Universal Music, the Canadian affiliate
showcased MAdE during the compa-
ny’s worldwide meetings last August in
Toronto.

According to Randy Lennox, senior
VP/GM of Universal Music Canada,
“MCA Records in America are very
excited about the project and will
release the album in early spring. We
also have commitments in other terri-
tories, but it’s too early to detail them.”

MAdE was formed four yeara ago in
Toronto when Jason Taylor, who had
been playing in local garage hands,
telephoned his friend Bedford and sug-
gested woi'king together. The two then
invited MacLean and bassist John
Bowker to join.

Of the significance of its name, with
its upper- and lower-case spelling, Tay-
lor says, “It’s a meaningless word — like
naming the band ‘The.’ The upper- and
lower-case sj>elling is a tongue-in-cheek
way of writing it.”

In late 1993, MAdE made iLs record-
ing debut via the independently re-
leased, si.x-song cassette “Rumhall,” re-
corded at the Gas Station studio here
for “$900 in a couple of day's,” accoi*ding
to Taylor. It was followed in 1994 by
another independently released cas-
sette, the 12-.song “Big Bother,” recoi’d-
ed by the band on a 8-track racorder in
its rehearsal studio. Neither album was
released with a label name.

According to Taylor, both cassettes
sold “a couple hundred copies,” pri-
maiily at the band’s gigs.

Hetherman became interested in the
band in late 1995, while it was in Hyp-
notic Sound Studio here, recording
songs. Hetherman, who had seen the
band several times in area clubs, was
invited to the studio by its owner, Tom
Tremulh, who afso operates the Uni-
versal Music Canada-distributed Hyp-
notic Records. By this time, Bowker
had been replaced by bassist Frank
Ouidoccio.

“When I started doing A&R [six
months eai’lierl, I had heard alx)ut them
quite a bit,” says Hetherman. “They
were one of the bands i)eople were talk-
ing about in the clubs. I checked them
out, but 1 thought they were kind of
sloppy. Then Tom told me MAdE was
recording in his studio, and invited me.
The band played me sereral ti~acks, and
I was completely floored by them.”

Another person who was taken by
the gi*oup’s Hyq)notic sessions was Mac-
Lean’s brother James, of Entercom
Management, which manages Canadi-
an bands the Doughlx)ys and Vokwl. As
a favor to his sister, MacLean had set
up the sessions and linked the band
with Voivod’s producers, Daryn Barry
and Alfio Annibalini. Up to this point,
James MacLean says, he hadn’t taken
the band seriously.

“The band spent two months fight-
ing, learning what they were as a band,
and when they came out with the tape,
I heard the diamond in the rough I
didn’t hear before,” he says. MacLean
then became the band’s manager.

After completing the album in No-
rember 1995, the group wanted a m<gor
label to I’clease it However, there were
no immediate takers, except Hether-
man at MCA Music Entertainment

Canada (renamed Universal Music
Canada in December).

“Initially, the last label I was going to
sign the band to was MCA,” says James
MacLean. “I felt Brian was too new [to
the A&R position], and that [the com-
pany] wouldn’t be ^le do anyUiing with
a [lo-fil band like MAdE. To the band’s
dismay, we searched long and hard for
a label. They thought the day they
walked out of the studio. I’d be able to
get them a deal within a w'eek.”

Frustrated with the time it was tak-
ing to land a deal, the band decided to
release a five-song CD themselves.
Titled “limbo,” it featured the Hypnot-
ic-recorded tracks “Fire,” “Oog,"
“Smudge,” “Rabbit,” and “h’un Of You.”
According to Taylor, it sold “several
hundred copies.”

“We piimarily released it because \ve
were going to do a tour out to British
Columbia to [music conference] Music-
West, and we wanted something to sell
along the way to keep us alive,” Taylor
saj's.

While James MacLean continued to
seek a label deal, the band spent the
year comj>osing material and gigging.
Booked by Courage Artist and Touring
here, the group mostly played in On-
tario, often to small crowds because it
wasn’t well known outside of Toronto.
“We played to a lot of empty clubs, but
they turned out to be some of our best
shows,” says Taylor.

While James MacLean says that
there was “strong” interest in MAdE
from Geffen Records and Arista Rec-
ords in the U.S., it was the persistent
interest of Hetherman and strong sup-
port from executives at MCA R^ords
in the U.S. that convinced the band to
sign with Universal Music Canada.

“Brian was there right at the begin-
ning,” says Taylor. “By the time he
signed us, he’d lived with our record for
eight months. He was our bi^est sup-
porter.”

While MAdE members and Hether-
man were happy with the bed tracks of
the Hypnotic recordings, neither party
was satisfied with the murky mixes
from the sessions. The Hypnotic Sound
tracks were mixed fresh at Toronto’s
Manta Sound with engineer Ron
iSearles in November and December ’96,
and mastered in late December by
Howie Weinberg at Masterdisk in
Newark, N.J.

Despite having several impressive
new songs, the band and Hetherman
rejected any further recording. Tay-
lor says, “We had the album we all
wanted.”

Writing all the lyrics and melodies,
Taylor might be considered the creative
spark of MAdE, but he is reticent to
take full credit for the group’s music.

“I just don’t sit down and write 10
songs and bring them in,” he says.
“Many of our songs are jammed [by the
hand], and they w'ouldn’t be what they
are if it wasn’t for everybody else.
Every member contributes arrange-
ments or brings in chord structures.”

According to Taylor, the band now
has another album’s worth of songs.
“Here we are now with 10 or 15 songs
written, and we probably have another
year before another album is due,” he
says. “This is a great situation to be in.
Our second record should be pretty
good, too.”

BILLBOARD FEBRUARY 1. 1997

Merchants

Marketina

R E T A I L I N G • D I S T R I B U T I O N » D I R E C T SALES»HOME VIDEO«ENTER* ACTIVE‘ACCESSORIES

Phillips Family Sees Select-O-Hits Endure, Prosper

m BY RICK CLARK

MEMPHIS — Sometimes, when best-
laid plans ai*e blown apart, something
unexixjcted hapj>ens that makes ewry-
thing better for everyone in the long
iiin. Memphis-based Select-O-Hits, one
of the most successful distributors in
the South, lias its genesis in such an
experience. It is a story of a family
pulling itself up by its straps and draw-
ing on Its knowledge of i*egional music
and how to semce it

During the late '50s, Thomas Phillijis
(the brother of Sun Records founder
Sam Phillips) sold or invested practi-
cally everything he owned and joined
with hi.s other brother Jud Phillips to
help manage Jerry Lee Lewis. At the
time, the mercurial artist was riding
high on hits like “Great lialls Of Fire,”
and the extreme investment seemed
like a certain winner. Little did the
Phillips bmthei*s know that the public
outcry over Lewis’ marriage to his
cousin Myra Gale Brou n would practi-
cally de.stroy the artist’s chance of a
commercially successful cai*eer.

“Dad had sold any life insurcncc he
had with Scott Paper Co. and profit

sharing to put into this. After all of this
hapjxjnetl — boom — Jerry Lee mairied
Myra, his i:)->’eai*-old fu'st cousin, aiKl it
all just fell apart,” recalls Johnny
Phillips, VP/national sales manager of
Select-O-Hits and pi'esident of Icehouse
Records, of the travails of his father,
Thomas.

“We had just built a home when all
that hapi)ened, and we had to sell it and
literally move into a one-room share-
cropper shack — suddenly not having
anything, and having five kids, and a
mother-in-law living with you. Dad
calletl up Uncle Sam, who said he could
come work in his warehouse,” Phillips
continues. “Eventually, Dad began
putting together packages of five Sun
singles in a bag for 99 cents. At that
time, we would package a Johnny Cash
IcutJ on one side, and a Jerrj' Lee [cut]
on the other side, and we would put
what we thought were non-hit recoils,
like Billy Lee Riley, Warren Smith, and
Ray Smith, on the inside. He u^uld take
those around and sell them to stores.”

In 1960, Thomas Phillips formed
Select-O-Hits, a name inspired by those
packages of Phillips and Sun. The name
stood for “select our hits.” Phillips then
opened a Select-O-Hits store that ini-
tially sold mainly Sun titles but soon
branched out to stocking product from
other labels, particularly blues and jazz
releases.

“At that time, there were only a few
places where you could get a really good
selection of blues and jazz, and there
was no one in our area, which wvls north

Memphis, who carried it, so Dad start-
ed doing more and more retail," says
Johnny Phillips.

Thomas Phillips enlisted his wife,
Lucille, and children Skip, Kathy, and
Johnny to loin the store.

Meanwhile, Select-O-Hits lx?gan get-
ting a reputation throughout the black
community as a reliable source for jazz,
R&B, and blues. As a result of
increased activity in those genres dur-
ing the ’60s and early ’70s, the compa-
ny began buying even more product
dii*ectly from labels.

By the mid-’70s, Johnny and Skip
Phillips owned a small recording facili-
ty called Select Sounds Recording Stu-
dio, where artists like the Amazing
Rhjthm Aces, Charlie Rich, and Lewis
would occasionally recoi*d demos. That
all came to a halt when the studio
burned down. The studio e.xperience, as
well as earlier forays into indie labels,
would serve Johnny Philli{>s well when
he later went back to forming more
small labels.

During that time, a local distiibutor.
Hot Line, was in <lire sti*aits because the
owner was dying of cancer, and his fam-
ily had no desire to take over the busi-
ness.

“Instead of paying any bills that he
owed, he decided to quit paying ev'ery-
body and start sending product back,”
Phillips recalls. “When we heard about
that, we stalled calling all of the labels
and said, “Look, you are going to lose
money. We will buy youi* inventory that
you have over tliere if you let us be your
distributor. Just about all of the labels
went with us. The ones that really
turned the tide for us were Malaco
Records, Fantasy, and Alligator. When
they went with us, a lot of other people
followed them.

“In 1978, Uncle Sam didn’t really
w'ant a w'hole lot to do with Select-O-
Hits, because at that time business was
pretty bad. Anyway, he was into the
radio and recording business and pub-
lishing. Dad wanted to retire, so that is
when Skip and I bought both of them
out.” Now the three siblings are the
owners and top e.xecutiv'es of the com-
pany; Skip is president, and Kathy is
national accounts rcp and head of adver-
tising.

Eventually, the firm moved to a new,
larger facility on the outskirts of east
Memphis and began upgrading its com-

puter sj'stems, as well as exjwinding the
staff, to position itself as the primary
one-stop distributor in the South.

“Since we started, our business has
done huge jujnps,” remai'ks Phillips. “If
you look in the South itself, there aren’t
any independent distributor close to
our size, I believe. We are one of the
true indei)endonts left.”

Even though Select-O-Hits sells to
many of the large chains, Phillips feels
that the company’s mcat-and-i)otatoes
business comes from .small- and medi-
um-sized retail chains, like Cats, Be
Bop, Waterloo, Disc Jockey, and Sound
Shop.

"There are a number of big chains
right now that are having financial
problems. It is no secret,” Phillips
states. “Although we sell to all of those
people, our financial exposure to tho.se

■ BY ED CHRISTMAN
and DON JEFFREY

NEW YORK— Even in light of the dis-
appointing music sales during the
recent holiday selling season, retailers
say that they were doubly disapiwint-
ed by the weak sales for Christmas and
other seasonal music.

Most merchants attributed the poor-
er seasonal music sales to the lack of a
popular new title this year. But some
suggested that the slowing of CD |)en-
etration might have also b^n a factor.

In South Plainfield, N.J., David
Lang, president of the nine-store Com-
pact Disc, reports weak sales of
Christmas music at his chain. “There
were not as many big hits this year,” he
notes. “And I felt the catalog w'as not
quite up to last year.”

The No. 1 title on Billboard’s Top
Christmas Albums chart throughout
the holiday selling season was Kenny
G’s “Miracles — The Holiday Album,”
which w'as released in 1994. According
to SoundScan, Christmas music sales
were down 6.3% for the period from
Nov. 4 through Dec. 29. Total Christ-
mas music sales were 140.9 million,
compared with 150.3 million last year.

At Compact Disc World — and at
some other chains — the biggest hit w^as

gu.v's is not as much as some of the other
dlsti'ibutore. Our primai-y bases of Inisi-
ness are the medium- to small-size
chains and mom-and-pop stores, and
one- or two-store operotions like Water-
loo in Austin, Texas.

“These stores understand that you
have to make money in this business.
They ai-c not crazy alixmt levijraged buy-
outs or doing things that they really
shouldn’t do. They all u.se common
sense, and they are the lifeblood of our
busine.ss,” continues Phillips. “Many of
those people have been very loyal to us
for over 20 years. They are fi-iencls of
oure. We dealt w'ith most of them when
we stai'ted off. They hav^ alway.s been
true to us, and they know that w^* will
ti*eat them right.

“We hav^‘ ended up being the disti'ib-
utor for the bulk of the regional records
in the South. If not nationally, at least
for our I'egion,” Phillijis notes. “We have
lalx)ls [wi^ which] we do 75% to 80% of
their business, because vve are in their
region. We know the region and hou* to
get the pi-oduct out there.”

In the ’()0s and early 70s, Philli|xs hafl
issued some limited-release R&B re-
cordings on Select-O-Hits Records and
Black Gold Records. As the Select-O-
Hits distribution o{)eraUon took off dur-
ing the ’80s, Phillips returned to his love
of launching labels that would focus on
the markets where the company’s dis-
tiibuting strength lay.

In 1986, Select-O-Hits released
“Shall We Dance (Electric Slide),” by

a new title — the Trans-Siberian
Orchestra’s “Christmas Eve And
Other Stories” on Lava.

Larry Mundorf, executive VP/COO
of the 149-store, Carnegie, Pa.-based
National Recoi*d Mart, says, “Holiday
music was pretty flat this year in
sales.” He notes that Mariah Carey’s
“Merry Christmas” and Michael
Bolton’s "This Is The Time — The
Christmas Album” led the pack.

In Canton, Ohio, at the 320-store
Camelot Music, VP of pui'chasing Ixjw
Gan*ett .sa>'s that Christmas music had
an off year. He attributes that softness
to the lack of a big new Christmas
release. Also, he points out that some
perennial best-selling Christmas
albums, such as “Miracles” and
Mannheim Steamroller’s “Christmas
In The Aire,” “hit the wall this year.”

Dwight Montjar, director of sales at
the Omaha, Neb. -based American
Gramaphone, says that Christmas
music sales weren’t as strong as the
label expected. On the other hand, he
notes that Mannheim Steamroller’s
three albums collectively sold 1.3 mil-
lion units, according to SoundScan.
“That’s a pretty good number; we can’t
kick about that,” he says.

In general, he notes, “Christmas
music sales are cyclical. You never

Grandmaster Slice, which sold more
than 100.000 singles and 25,000 albums,
according to Philli|xs. In 1991, Seloct-0-
Hits’ M(L’ Lucious’ “Boom! I Got Your
Boyfi’iond” .sold more than 200.(XK) units
each in the single and album formats.

“We realized that we couldn’t seri-
ously compete with pop or country
music. We wanted to go for the R&B,
i*ap, and gos})el markets, because tliat
i.s where* we felt we knew our business,”
saj's Phillips. “We giw up .selling that
stutT in our retail stores and one-stoj)s.
No one in the country know's it any bet-
ter than we do, inde|)cndent distribu-
tion-wise. We knmv how to sell it”

While Phillips work.s as a .sales exec-
utiv'e at Select-O-Hits, he has continued
to expand upon his family of labels,
which includes Brutal Records (.sti*eet
rap). Blues Works (Southern R&B),
Ti-emor (alternative rock), and Icehouse
(contemj)orary blues).

Meanwhile, the Select-O-Hits distri-
bution operation continues to gi'ovv, in
spite of a generally sluj^shly ixjtail cli-
mate.

“We have gone from three people in
1979 to about 50 now,” Phillips points
out. “I hav'e l)cen able to put more time
and effort into our record labels.

“Labels that hav'e still been with us,
like Alligator, Malaco, Savoy, and Blind
Pig, and people like that, have been with
us a long, long time. They have stuck
with us, and it has been a big help,”
states Phillips. “Plus it doesn’t hurt to
(Continued on jKige 5S)

know which year will be a good year,
and ’96 didn’t turn out to be a good
year.”

Mon^ar also points out that one of
the things hurting the sales of Christ-
mas music was the overall weak holi-
day sales. “Christmas music, to a large
degree, is dependent on the impulse
buy,” he .says, “and if there aren’t a lot
of iHJople out there in the stores, then
Christmas music sales are going to go
with the flow.”

Ivan Lipton, president of the Mil-
ford, Mass.-based Sti*awberries, has a
different theory why Christmas music
was off. “The problem with Christmas
music is the epitome of the CD-
I'eplacement problem,” he says. “Once
you have a favorite Christmas album
on CD, why do you need it again’? 1 sus-
pect that people have all their favorite
classics by now.”

Overall, he called the .sales of Christ-
mas music this year “dreadful.”

However, not everybody says he had
disappointing sales with seasonal
music. Mike Fratt, head buyer of
Omaha, Neb. -based Homer’s, says,
“Christmas music was a little stronger
than last year.” At the eight-unit chain,
the top seller was Jimmy Buffett’s
“Christmas Island.”

Seasonal Music Hit By Sales Downturn

BILLBOARD FEBRUARY 1 , 1 997

Merchants & Marketing

Recordsmith Hammers Out College Niche

Kentucky Store Specializes In NaVl, Indie Releases

■ BY PATRICIA BATES

RICHMOND, Ky.— Jeff Duncan
makes in-store appearances while
on lour with his band, Swifty. But
he isn’t necessarily stopping to play
music, but rather to pick up ideas
on how retailers merchandise
music.

Jeff and his wife, Jill, have owned
Recordsmith — which has 5,000 titles
of new and used CDs and cas-
settes — since 1990. The shop has
been in this college town, an hour
from Lexington, Ky., for 19 years.
Many of the 15,000 students at East-
ern Kentucky University hang out in
the store with the Duncans, and

Doug Rapp, a bass player and full-
time employee at Recordsmith. stands
In front of the Richmond, Ky., music
store. (Photo: Patricia Bates)

musicians come by to jam almost
weekly.

Local music is sold here, as you
would expect in a store owned by a
working musician. In 1995 Record-
smith engineered “Swifty: Bub-
bling Over” at Easley Recording in
Memphis in 1995, and the “Record-
smith Presents: You Are Now
Entering Kentucky” compilation,
featuring 17 regional bands, was
cut at Lexington’s Toontown in
1992. The latter set has sold more
than SOO units, and features such
acts as Aur’a-Sen, Stranglmartin,
Ted Bundy’s Volkswagen, Cone Of
Silence, and Loud Hoom-Shanka.
Both titles can be found on the

RETAIL

IS COMING SOON TO
A STORE NEAR YOU!

store’s shelves.

“Tuesdays and Fridays are our
major sales days. At least 70%-75%
of what we offer is alternative rock,”
says Jeff. “Our customers know
their street dates and the business.
We may have 40-50 of them who are
in here as often as four times a
week.”

Recordsmith is near 1-75, so it’s
centrally located among banks,
restaurants, and gas stations. At a
midnight release party last year for
Pearl Jam’s “No Code,” traffic had
to be directed as Swifty, Gold Tooth
Display, and the Fosters played at
the 1,300-square-foot store.

The Wallflowers also once made a
brief shopping excursion to the
retailer. “It was really cool to have
Bob Dylan’s son here,” says Jeff.
“We have a lot of musicians who
work here.”

At least 85% of the store’s clien-
tele are males aged 16-24. But the
gender gap narrows when Eastern
Kentucky begins its school year, and
female students need posters from
Record.smith for their dorm rooms.
“We had our first graduating class
after our fourth year here,” says
Jeff. “Many of the alumni came back
during homecoming.”

The Duncans, who received
degrees in journalism (Jeff) and art/
advertising (Jill) from the Universi-
ty of Kentucky, Lexington in 1986,
also manage a design firm, (rraphic-
smith. Jill worked as a graphic
designer for The Lexington-Herald
Leader for six years.

After Jeff learned that the previ-
ous Recordsmith owner wanted to
retire, he bought the inventory in
1990. By that time, Recordsmith had
already released a compilation of
central Kentucky bands, “Bigger
Than You.”

Recordsmith’s selection is 70%-
75% alternative, mainstream, and

EXECUTIVE TURNTABLE

HOME VIDEO. Sony Wonder in New
York promotes Chuck Nankivell to
associate director of marketing, Elisa
Peimer to associate director of pro-
duction, Deborah Strafella to associ-
ate director of PR, Debbie Lawrence
to product manager for SMV and Sony
Wonder, and Janet Stampler to man-
ager of creative audio.

Nankivell and Peimer were product
managers; Strafella was manager of
PR; Lawrence was associate director
of production; and Stampler was coor-
dinator of creative audio and publici-
ty-

E. Dean Jones II is appointed VP of
marketing at Rank Video Services
America in Los Angeles. He was direc-
tor of marketing at Merisel Inc.

David Solies is promoted to execu-
tive director of creative services for
Paramount Home Video in Hollywood,
Calif. He was director of creative ser-
vices.

NANKIVELL PEIMER

RELATED FIELDS. Helen Isaacson is
appointed executive VP of worldwide
licensing for Marvel Comics Group in
New York. She was senior VP/GM of
international licensing and merchan-
dising for Turner Home Entertain-
ment.

Send all items for the Merchants &
Marketing Execxdive Turntable to
Terri Horak, 1515 Broadway, New
York, NY. 10036. Photos are ivelcotne,
but cannot be returned.

indie rock; 15%-20% rap; and 10%
country. There’s no jazz, classical, or
blues product. In late January, Tool,
Archers Of Loaf, Beck, Wilco, and
311 were the top sellers here.

Unlike some retailers, the Dun-
cans mix the new CDs with old.
“We have about 2,000 used CDs,
which is about 40% of our stock
now,” says Duncan. Of the pre-
owned discs, he adds, “we have a
turnover of seven to eight times a
year. We’d like that ratio to be
lower, but we can’t control what
they bring in the door.”

There is an average of more than
400 used cassettes in the bins. “I

RECORD SMJI

T*prV BTC.

Jill and Jeff Duncan are the owners of
Recordsmith. which has 5,000 titles of
new and used CDs and cassettes.
(Photo: Patricia Bates)

can’t always guarantee a new tape,
but 1 can a used one,” says Duncan.
“That’s becau.se I can open and fix
them. I can’t if they come from a dis-
tributor.”

Recordsmith almost has an opti-
cal-illusion look. The walls are paint-
ed black, but they seem three-
dimensional because of the color
posters. The rows of CDs are
arranged in a V-shape. There’s a
green board, on which the Duncans
announce releases, that nearly spans
from floor to ceiling.

The Duncans like service-minded
employees; Recordsmith has four
full-time and two part-time staffers.
“We look for individuals who have an
almost unhealthy obsession with
music,” says Jeff. “We don’t have to
dictate to them that they read the
trades. They already do, such as
Billboard, CMJ, Musician, Magnet,
Alternative Press.”

They also get the customers excit-
ed, as when albums by E-40, Wilco,
and the Beatles arrived in the the
same week, or likewise feel their
disappointment, as when Snoop
Doggy Dogg’s “Tha Doggfather”
was postponed for a week.

Recordsmith also sponsors a few
concerts, and it has been known to
recommend artists for dates. That
makes the Duncans more active in
the live circuit than just having
nightclub fliers in their store’s win-
dows or taking in CDs on consign-
ment.

Wal-Mart, Kmart, and Record
Town are the three nearest discount
music stores. Most of the country
fans gravitate to Wal-Mart or to the
Best Buy on Nicholasville Road in
Lexington, according to Jeff.

However, Richmond residents also
make the one-hour commute to the
(Continued on page 53)

newsline...

VIRGIN RECORDS ha.s teamed with the Coalition of Independent Music Stores
(CIMS) on an in-store retail tour for its act Silver JeL The tour began Jan. 14
and runs through Feb. 22. The Los Angeles-based band will perform at 15 of
the CIMS’ 60 stores across the US. The stores have been provided with point-
of-purchase materials and funds for radio and print ads. This program is a
first for Virgin and the CIMS. The trio’s album comes out March 1 1.

NATIONAL ASSN. OF RECORDING MERCHANDISERS (HARM) reports that
Ck)lumbia recording artist Kenny Loggins will be the headlining act at the
association’s scholarship dinner March 11, during its annual convention in
Orlando, Fla. The trade organization also announces that Ckillective Soul will
be the closing act during the general session March 9. As previously
announced, Alison Krauss will open the general session, followed by keynote
speaker Barry Gibbons.

EMI GROUP announces a $20 million off-balance sheet lease to finance the
acquisition of CD manufacturing equipment for its plant in Jacksonville, 111.
The lease, which is unusual in the music industry, was financed by Sumitomo
Bank Leasing and Finance. The transaction is structured as a Tax Owner-
ship Operating Lease, which combines the tax adv'antages of ownership wdth
the ofT-l)aiance sheet advantages of an oi>erating lease.

MOOVIES, the operator of 220 video stores, says it has adopted a sharehold-
er rights plan. Although such a measure usually is taken when a company is
threatened by hostile acquisition, Moovies states that it “did not adopt the
plan in response to any current takeov'er threat and knows of no such takeover
attempts.” The plan goes into effect if an offer is made for 15% or more of the
company’s stock, at which time current stockholders would have the right to
purchase shares of a newly created cla.ss of preferred stock. Rights plans
make acquisitions more costly becau.se of the issuance of new' stock.

GENERAL INSTRUMENT, a provider of digital set-top cable boxes and other
equipment for interactive television systems, has approved a restructuring
into three separate companies. NextLevel Systems will supply systems and
components for high-performance networks delivering video, voice, and Inter-
net sendees. This unit’s sales exceeded $1.7 billion last year. The other new
companies are CommScope, which manufactures coaxi^ cable, and General
Semiconductor, which supplies other electronics equipment

A&E HOME VIDEO continues a program of releasing films of Jane Austen nov-
els to the video sell-through market with the March
7 introduction of “Emma.” This production, w'hich
stars Kate Beckinsale as the title character, will
premiere on the A&E cable network Feb. 16. Last
year the home video unit released Austen’s “Pride
And Prejudice,” which it says has sold 120,000
boxed sets. “Emma” canies a list price of $19.95.

A&E Home Video is distributed by New Video
Group.

ALPHA ENTERPRISES says it has introduced a new line of carriers for elec-
tronic article security (EAS) tags, w'hich are used to deter the theft of CDs,
videos, and other products from stores. In this new system, the ElAS labels are
locked out of sight and out of reach inside a housing held in place by adjustable
cables. Music retailers complain that shc^lifters often tear the electronic tags
off products, thus escaping detection.

HARVEY ENTERTAINMENT, which licenses and develops film and video prop-
erties based on comic characters like CJasper the Friendly Ghost and Baby
Huey, says its board has authorized the repurchase of up to 380,(XX) shares —
about 10% of the outstanding stock. At press time Harvey’s shares closed at
$7.25 each in Nasdaq trading; their 52-week range is $5.25 to $12.

QSOUND LABS, a developer of 3D audio technology, says it
is manufacturing a digital 3D audio processor for DVD,
multimedia, and hcone theater businesses in a venture with
Zoran Corp. Zoran supplies Dolby digital decoders and
has develoi^ a chip that has the power to run the decoder
and 3D audio simultaneously.

THE GOOD GUYS! reports that its total sales fell 7% in the first fiscal quarter,
which ended Dec. 31, to $286.6 million, while sales for stores open at least a
year plunged 12% from the year before. The San Francisco-bas^ q>erator of
76 consumer electronics stores has not yet released its fuU quarterly finan-
cial report Good Guys! says it opened its second Wow! Multimedia Super-
store — a venture with Tower Records — in Redondo Beach, Calif, during the
quarter. The first Wow! was opened in Las Vegas.

LASERRLE INTERNATIONAL announces a new North American distribution
deal for its replacement CD cases with MacTee Products of Northridge, Calif
The company’s CD case is an alternative to the standard jewel beat; it holds
the CD in a concave tray that slides out like a drawer from its sheU. Laserfile’s
products are sold by most m^jor music retailers.

BILLBOARD FEBRUARY 1 . 1 997

Merchants & Marketing

RECORDSMITH HAMMERS OUT COLLEGE NICHE

(Contimied from, preceding page)

‘Bananas’ Sprouts ‘Singing’ Spinoff On
Capitoi; New Aibums From Graf, Gordh

One banana, two banana:

Capitol Records is cranking up promo-
tions on behalf of its debut children’s
release, “Bananas In Pajamas: It’s
Singing Time.” Composed of more than
50 sing-along songs, it’s the inaugural
release spun off the popular syndicated
preschool TV show “Bananas In P^a-
mas.” The album has sold more than
100,000 copies since its Oct. 1 release,
according to Liz Heller, senior VP of
new media for Capitol. According to
SoundScan, it’s sold 24,000 units. Kath-
leen By water, president of Playground
Entertainment Marketing, based in
Pasadena, Calif, which is working the
album to children’s bookstores, toy
stores, and other specialty retailers,
notes that these types of outlets are
generally not sampl^ by SoundScan.

A national mall tour featuring cos-
tumed characters portraying the shou'’s
stars — psgama-clad, anthropomorphic

bananas B1 and B2 — began in the fall
and runs through April. TTie really big
news, though, according to Heller and
Paddy Spinks, Capitol head of interna-
tional, is that a full “Bananas In Paja-
mas” stage show will be touring the
U.S. later this year. A second album,
“It’s Dancing Time,” will be released
this summer in advance of the tour.

A radio promotion kicked off the
third week of January, involving 10 sta-
tions around the country that feature
children’s pn^p*amming, and it is run-
ning for five w^ks, according to Spinks.
“The stations are playing four-song sets
from the album,” he says, “which Uig
local retailers and involve giveaways of
‘Bananas In Piyamas’ plush toys and T-
shirts.” In the spring, Capitol along
with PolyGram Video (which handles
“Bananas In Pajamas” videos) and
Tomy Toys (maker of the plush items)
will offer a cassette music sampler bun-
dled with an upcoming home video and
a toy. Spinks says that a cross-promo-
tion is in the works with national day-
care chain KinderCarc and American
Girls doll manufacturer Pleasant Co.

Spinks notes that with more than 200
licensed ‘Bananas In Pyamas’ products,
“we can piggyback on other promo-
tions.” He cites a January campaign
involving Huggies disposable diapers

FOR THE RECORD

The list of 199()’s best-selling sin-
gles in the >Ian. 18 issue did not
include the recording that w'as the
No. 2 .seller of the year. Bone Thugs-
N-Harmony’s “Tha Crossroads”
(Ruthless/Relativity), which has sold
2.1 million units, accoitling to Sound-
Scan.

by Moira McCormick

and a “Bananas In Pajamas” finger
puppet, which he says helped raise
awareness of the audio product.

Heller says that an invitational show-
case at New' York’s FAO Schwarz, to be
held Feb. 9 just prior to the opening of
Toy Fair, will showcase “It’s Singing
Time." She observes that, unlike kids*
audio products spun off from nonmusi-
cal TV shows, “the music is part of w'hat
the Bananas do. Kids want this music.”

Spinks w'as responsible for bringing
“Bananas In Pajamas” to Capitol. He
says he was introduced to the property
two years ago in Australia, w'here the
show is produced and w’here it was
already a sensation. “They’re some-
thing like the fifth-biggest Australian
export, just behind Mel Gibson,” he
says. “They’re licensed through EMI
Australia, which we’re part of as Capi-
tol.” The “Bananas” merchandise
Spinks brought home for his then-4-
year-old daughter delighted her, he
says; then U.S. TV picked up the show'
in fall ’95. PolyGram Video Issued the
first video product in March 1996.

The TV show' has 90% penetration in
the U.S. It starts its third season in Sep-
tember; Nielsen ratings for October
showed it as the No. 1 syndicated pro-
gram for children 2-11, according to
Spinks. And the “Bananas In Pajamas”
plush was rated among the top 10 toys
just before Christmas, he adds.

Capitol entered the children’s audio
market w'ith very little media fanfai'e,
but Heller and Spinks say that the com-
pany is here to stay. “ ‘Bananas In P^a-

have a Johnnie Taylor record, through
Malaco, out right now that has shippe<]
orer 300,000 units. We also have labels
like Priority Records, who are doing
w'ell selling the old 2Pac, Ice-T, Snoop
Doggy Dogg, Ice Cube, Dr. Dre, and all
of those titles. We also distribute Dis-
ney.”

Select-O-Hits sells to every major
one-stop in the country, including Val-
ley and Abbey Road in California.

“The reason they buy from us is not
because they can’t get product from
other places; it’s just that we have real-
ly good fills and real good service.”
Phillips says. “We like our fills to be in
the high 80% to 90% range. We literal-
ly run inventory every day, so we know
w'here we stand.

“One time, we had one guy tell us that
we w'ere a mom-and-pop distributor, and
he was going to put us out of business.
He is long gone now;” Phillips says.

“We don’t mind being called a mom-
and-pop distributor. Wo are a family
business,” Philli|)s continues. “Anybody
w'ho w’ants to get us can still get me or
Skip or Kathy on the line. They don’t
have to go through a w'hole bunch of
hoopla to get to anybody. If they have

mas’ is the first kids’ project,” says
Heller, “with othere to follow in June.”
She w'as unable to divulge names but
confirmed that they are well-known
characters. “We plan to build a small
roster of unique properties with real
focus, w'hich we can market through our
sj'stem.” Futui'e children’s releases, she
notes, w'ill not be limited strictly to
preschool.

“We see this as a long-term project,”
says Spinks of “Bananas In Pajamas,”
“something that I will sell this year and
into the next. If it doesn’t explode, we’re
still going to sell a lot of records.”

Artistic directions: two of

our favorite real-live kids’ artists,
Lenny Graf and Bill Gordh, have
released new' albums. Zany Canadian
Graf, a singer/songw'riter and player
of myriad w'ind instruments, whose
Noise and Gadgets machine lends his
records a Spike Jones-ish air, has
issued “Planet Lenny” (Toronto-
based LGM Inc.). Cosmic-themed
tunes like “Galaxy Song” (by Eric Idle
and Trevor Jones) and Graf’s “Earth"
rub shoulders with silly stuff like
“Lemon” and standai*ds like “This Lit-
tle Light Of Mine.” Superstar trio
Sharon, I..ols & Bram guest on “I’m
Late,” and Gi'af fixture Patrick, a kid
who plays bewildered straight man to
Graf’s looniness, makes a w'elcome
return.

Singer/songw'riter/story teller
Gordh’s latest is “Watermelon Patch”
(New' York-based Lingonben'y Music).
His jazz-, blues-, and folk-flavored
album includes “Looking For That Big
Watermelon” (a duet with \'ocaIist Mon-
ica Passin), “Heron And Crane,” night-
time number “Rachel In The Sky,” and
the West African-influenced “Sing To
The Egg.” Delta blue.*? guitarist Scott
Ainslie augments “Buzzard In A Box,”
a story passed down from Gordh’s
granddad.

any questions or complaints, they just
get on the phone. We may do a lot of
business, but we know w’here we came
from, too.

“The fact that w'e w'ere retailers at
one time and one-stops at one time and
rackjobbers at one time is something
that has helped us out a lot,” states
Philli|)s. “We know w'hat our customers
w'ant, so W'e tj*y and make sure that they
get it.”

Spec's Gets Cool. LL Cool J
stopped by a Spec’s Music store in
North Miami Beach. Fla., to sign
copies of his Def Jam/Mercury release
“Mr. Smith." Shown, from left, are
store manager Jeanean Lockett. LL
Cool J. and Spec's president Ann
Lieff.

Mall at Lexington Green, which has
a Disc Jockey superstore and the
6,500-square-foot Joseph-Beth
Booksellers.

Jeff keeps traveling too, as
Swifty’s drummer. In 1995 and 1996,
the Swifty touring itinerary took
him from Tuscaloosa, Ala., to Pen-
sacola, Fla. During that time, he vis-
ited retail establishments like Wux-
try in Athens, Ga. “We borrowed an
idea from them for Recordsmith,”
says Jeff. “They had their posters in
vinyl sleeves with cardboard,
instead of being rolled and
wrapped.”

He adds. “I also see the promo-
tions that [the labels] didn’t send us.
I just call up our sales rep, and
they’ll get it to us, though. They

Recordsmith sells used as well as new
recordings, and its black walls are
lined with posters and a new-release
board. (Photo: Patricia Bates)

know' we’ll meet the UPS truck at
the highw'ay if we’re expecting a
shipment from them.”

PHILLIPS FAMILY SEES SELECT-O-HITS ENDURE

(Continued fi'om jxige 51)

Billboard, February i, 1997

Kid Audio .

THIS WEEK

LAST WEEK

WKS. ON CHART

Compiled from a national sample of retail store and rack

sales reports collected, compiled, and provided by 1111111

ARTIST/SERIES TITLE

LABEL. CATALOG NUMBER/DISTRIBUTtNG LABEL fSHElf PRICE)

★ ★ ★ No. 1 ■A ★

READ-ALONG 101 DALMATIANS (LIVE ACTION)

WALT DISNEY 60272 16.98 Cassette)

VARIOUS ARTISTS CLASSIC DISNEY VOL. Ill • 60 YEARS OF MUSICAL MAGIC

WALT DISNEY 60907 (10.98/15.98)

VARIOUS ARTISTS • CLASSIC DISNEY VOL 1 - 60 YEARS OF MUSICAL MAGIC
WALT DISNEY 60865 (10.98/15.98)

BARNEY A' BARNEY'S FAVORITES VOLUME 1

BARNEY MUSIOSBK 27115/EMI (9.98/15.98)

VARIOUS ARTISTS • CLASSIC DISNEY VOL. II - 60 YEARS OF MUSICAL MAGIC

WALT DISNEY 60866(10.98/15.98)

SING-ALONG WINNIE THE POOH

WALT DISNEY 60889 (10.98 Cassette)

READ-ALONG A TOY STORY

WALT DISNEY 60265 (6.98 Cassette)

ALVIN & THE CHIPMUNKS CLUB CHIPMUNK-THE DANCE MIXES

SONY WONDER 63392/EPIC (9.98/13.98)

SING-ALONG 101 DALMATIANS (LIVE ACTION)

WALT DISNEY 60910 (10.98 Cassette)

VARIOUS ARTISTS FOR OUR CHILDREN TOO!

KID RHINO 72d94/RHINO (9.98/1 5.98)

MICHAEL JORDAN SPACE JAM: AUDIO ACTION-ADVENTURE

KID RHINO 72497/RKINO (9.98 Cassette)

SING-ALONG TOY STORY

WALT DISNEY 60922 (10.98 Cassette)

VARIOUS ARTISTS MOUSE HOUSE

WALT DISNEY 60914 (9.98/15.98)

VARIOUS ARTISTS DISNEY’S MUSIC FROM THE PARK

WALT DISNEY 60915 (10.98/16.98)

VARIOUS ARTISTS A’ DISNEY CHILDREN'S FAVORITES VOLUME 1

WALT DISNEY 60605 (6.98/13.98)

VARIOUS ARTISTS DISNEY'S PRINCESS COLLECTION

WALT DISNEY 60897 (8.98/1 1.98)

KENNY LOGGINS A RETURN TO POOH CORNER

SONY WONDER 57674/COLUMBIA (9.98 EQ/13.98)

READ-ALONG THE HUNCHBACK OF NOTRE DAME

WALT DISNEY 60268 (6.98 Cassette)

READ-ALONG 101 DALMATIANS

WALT DISNEY 50217 (6.98 Cassette)

BARNEY • BARNEY’S FAVORITES VOLUME 2

BARNEY MUSIC/SBK 28338/EMI (9.98/16.98)

MY FIRST READ-ALONG 101 DALMATIANS: MEET THE PUPPIES

WALT DISNEY 60271 (5.99 Cassette)

SING-ALONG MICKEY'S FAVORITES

WALT DISNEY 60891 (10.98 Cassette)

READ-ALONG A' THE LION KING

WALT DISNEY 60254 (6.98 Cassette)

RE-ENTRY

CEDARMONT KIDS CLASSICS ACTION BIBLE SONGS

BENSON 217 (3.98/6.98)

RE-ENTRY

CEDARMONT KIDS CLASSICS TODDLER TUNES

BENSON 056 (3.98/6.98)

Children's recordii^: original soundtracks excluded. • Recording Industry Assn. Of America (RIAA> certification for
sales of 500,000 units. A RIAA cerlifKation for sales of ! million units, with muliimiilion sellers indicated by a numeral fol-
lowing the synXtol. Most albums available on cassette and CD. ‘Asterisk indicates vinyl IP is available. Most tape prices,
and CD prices for WEA and SMG labels, are suggested lists. Tape prices marked EQ. and all other CD prices, are equivalent
prices, which are protected Irom wholesale prices. 0 1997, Billboaril'fiPI Communications, and Soundscan, ItK.

BILLBOARD FEBRUARY 1. 1997

Merchants & Marketing

Surveying Other Genre Sales Trends For ’96

Last week in a page 1 story,
Billboard analyzed the 12.1% drop
in country album sales. Retail
Track thought it would be interest-
ing to see how some other genres
did in 1996. According to Sound-
Scan, alternative rock accounted
for 17.1% of all album sales, selling
some 105.2 million units. That total
represented an 11.9% increase over
the previous year’s total of 94 mil-
lion units. R&B music, on the other
hand, experienced an 8.3% decline
in 1996, with its album sales going
from 80.7 million units in 1996 to 74
million units in 1996. R&B accounts
for 12% of overall album sales.

Rap, which accounts for 9.1% of
all album sales, had an explosive
year last year. Album sales for the
genre were 56.3 million units, up
35.6% from the previous year’s
total of 41.5 million units. Metal,
meanwhile, suffered a 16.1% down-
turn in album sales. Metal albums,
which account for 4.3% of all album
sales last year, saw sales drop to
26.4 million units, down from the
previous year’s total of 31.1 million
units. Classical music also experi-
enced weakening album sales. The
genre, which accounts for 3.5% of
all album sales, posted a 10% drop,
with album sales going from 23.8
million units in 1995 to 21.5 million
units last year.

Jazz, which has the same album
market share as classical, enjoyed
robust growth in 1996. The genre
finished the year with album sales
of 21.8 million units, up 47.3% from
the previous year’s total, 14.3 mil-
lion units.

Another dream: Mike Oe-

lich, formerly head of sales at

American Gramaphone, has left the
company to become president of a
new, as-yet-unnamed label. It will
be a full-service label and will
eventually offer music in most gen-
res.

The label is being started by
Norm Waitt, a co-founder of Gate-
way2000, a personal computer
manufacturer. Waitt, who was list-
ed in Forbes’
recent listing of
the 400 richest
people in the
world, “is a
huge music fan,
according to
Delich. “His
head and heart
are into the
music. We are
not coming in to see what we can
get out of it. We want to be able to
make a contribution to the busi-
ness.’’

Gateway2000 made its name by
selling computers directly to the
consumer. But for its music deal-
ings, Delich says, the label will
first look at traditional distribu-
tion. Eventually the company
hopes to make its mark through
other distribution channels as well.

The label, which should have its
first releases ready by the fall, will
look to develop and record its own
talent, Delich says. “Also, we will
look for mergers and acquisitions
with existing labels,’’ he adds. “We
have financial resources in a busi-
ness where they are sorely need-
ed.”

But Delich distinguishes his
company from all the vulture
investors looking at the music
industry. “We are here to build

something,” he states.

Allies no more: The Alliance
Label Development Group (ALD)
was dismantled a couple of weeks
ago, with Duncan Hutchison, who
headed the operation, leaving. ALD
was formed when the Alliance
Entertainment Group acquired
Independent National Distributors
Inc. (INDI).
At the time of
the acquisi-
tion, Alliance
already owned
two other in-
dependent
distributors.
Alliance Music
Distribution
and Encore.
With the purchase of INDI,
Alliance changed Alliance Music
Distribution into ALD, a marketing
arm that offered enhanced services
to a select group of labels going
through INDI. With the current re-
organization of INDI, ALD became
redundant and thus was discontin-
ued, sources say.

Alliance Entertainment Corp.,
meanwhile, saw its stock price
reach a new low: It traded for
$1,625 Jan. 21.

T OWERING OUT; Tower Records/
Video closed two stores at the end
of the year, one in Tacoma, Wash.,
and the other in Phoenix. Tower
president Russ Solomon reports
that the leases were up and that it
made more sense to close the stores
than to renew the leases.

I N LOOKING forward to the
annual convention of the National

Assn, of Recording Merchandisers,
Curt Eddy, VP of field marketing
at PolyGram Group Distribution
(PGD), reports that the action is
going to be fast and furious at the
PGD Zone this year. Among the
acts already lined up to perform
are Tonic (Polydor), Jonny Lang
(A&M), Neal Coty (Mercury Nash-
ville), Chris Botti (Verve), Warren
G (Def Jam), Flipp (Hollywood),
and Edna Swap (Island).

The store-design industry is
gearing up for GlobalShop, a trade
show that will be held March 22-24
in Chicago’s McCormick Place.

According to a press release, the
store-design exposition wull focus
on the “store within a store” trend.
In addition, visual merchandising
strategies will featured at the con-
ference. GlobalShop is based in
Atlanta.

Making tracks: Bin Teitei-

baum has stepped down as presi-
dent of the National Record Mart
chain, and promoted executive
VP/COO Larry Mundorf to that
post. Mundorf, formerly an execu-
tive with Alpha Enterprises and,
before that, with Camelot Music,
joined the Pittsburgh-based chain
in January ’96. Teitelbaum will
retain the titles of chairman and
CEO.

Big Daddy, an independent dis-
tribution company based in Maple-
wood, N.J., announces the appoint-
ment of jeri nelsen to the position
of “big mama,” according to a com-
pany press release . . . Dwight
Montjar, formerly Midwest re-
gional sales representative for
American Gramaphone, has been
named director of sales.

RETAIL^

trackH^

by Ed Christman

VQCMION. LOCATION. lOCAT/N#..

AEC One Stop Group

New Accounts 1-800-635-9082 Fax 1-954-340-7641

www.aent.com

Mickey Salutes
Grammy Noms

Wall Disnc)’ Records
applauds all of the 1997 Grammy
Award nominees for their out-
standing contribudons to the
music world, creating timeless
classics for generations to come.

WDR is pleased lo announce this vear’s
nominees, ^s'h^ch include the label's first
nomination in a coumr)' music cai^on:
The \XT)R nominees are

Best Female Country Vocal

Performance

“Baby Mine"

Alison Krauss

—from Tk BfSt of Country
Beft of Disney

Best Pop Perfonnance
by a Duo or Group with Voed
"'K'hcn You Wish Upon a Star”

Fake 6

—from Music jrom the Park

Best instnimema! Arrangement with
.Accompansing Vocal(s)

"When You Wsh Upon a Star"

Take 6

—horn Music from tly Park

Sham the music of Disney at our weOsrte;
http;//www.dtSftey.cotnt)isneyRecofds

RECORDS

GOnney

BiaBOARD FEBRUARY 1. 1997

CopyrightsQ material

Billboard. FEBRUARY 1, 1997

op Pop. Catalog Album

THIS

WEEK

LAST

WEEK

COMPILED FROM A RATIONAL SAMPLE OF RETAIL STORE AND RACK SALES
REPORTS COLLECTED. COMPILED. AND PROVIDED BY SoundScan'^

ARTIST lllllll title

LABEL & NUMBEfVDlSTRIBUriNG LABEL (SU6. UST PRICE! ■

TOTAL CHART
WEEKS

★ ★ NO. 1 ★ *

SOUNOTRACKA* GREASE

POLYOOR825095'A&Mn0.9aa6.9e) SvMtfsMNal

185

METALLICAA* METALIICA

ELEKTRA 61 1 1 3’;EEG ll0.9Stl 5.98)

284

BOB MARLEY AND THE WAILERS A^ LEGEND

TUFF GONG 846210VISLAND 110.98/1 7.981

397

BEASTIEBOYSA* LICENSED TO ILL

OEF JAM 52735hM£fiCURr |7.98 £(iT 1,981

281

BOB SEGER & THE SILVER BULLET BAND A^ GREATEST HITS

CAPITOL 30334* 5.98}

117

EAGLES A" HELL FREEZES OVER

GEFFEN 24725 (12.90/1 7.TO)

115

SUBLIME 40 02. TO FREEDOM

GASOUNE ALLEY U474.'MCA(7.9£V!2.98)BB

CELINE DION A* THE COLOUR OF MY LOVE

550 MUSIC 57555s'EPIC (10.98 Ea'16.981

152

JOURNEY A’ JOURNEY'S GREATEST HITS

COLUMBIA 44493 (9.98 E(i'15.98)

385

DAVE MAHHEWS BAND A* UNDER THE TABLE AND DREAMING

RCA 66449 UO.96V15.98l

119

PINK FLOYD A“ DARK SIDE OF THE MOON

CAPITOL 46001* (9.98'IS.98l

1035

PINK FLOYD A“ THE WALL

COLUMBIA 36163* 115.98 £a’31.98>

421

HOOTIE & THE BLOWFISH A» CRACKED REAR VIEW

ATLANTIC 626I3VAG UO.90’16.98) BR

132

ENIGMA A* MCMXCA.D.

CHARISMA 86224/VIRGIN (10.98/16.98)

291

JIMI HENDRIXA' THE ULTIMATE EXPERIENCE

MCA10829li0.98'i7.98)

162

METALLICAA^ ...AND JUSTICE FOR ALL

ELEKTRA 6U812/UG <9 98i'lS.98)

357

TOM PETTY AND THE HEARTBREAKERS A^ GREATEST HITS

MCA 10813 (10.9a'I7.98l

157

ABBAA^ GOLD

POIYDOR 5I7007/A4MU09B/17.98I

110

SARAH MCLACHLAN A’ FUMBLING TOWARDS ECSTASY

NETTWERK 1872SARISTA UO.90'l5.98)n

123

ENYAA* WATERMARK

REPRISE 26774/WARNER BROS. (10.98/15.98)

3Q6

VAN MORRISON A^ THE BEST OF VAN MORRISON

POLY[X)R 841970/A&M <10.98/17 98)

320

ENYAA* SHEPHERD MOONS

REPRISE 26775'WARNER BROS. (10.9a'16.96)

241

RAGE AGAINST THE MACHINE A’ RAGE AGAINST THE MACHINE

EPIC 52959* (10.98 Ea'i6.98)ffi

130

SADEA^ BESTOFSAOE

EPIC 66686* (10.98 E(i'17.98)

JAMES TAYLOR A» GREATEST HITS

WARNER BROS. 3113* (7.9^11.98)

329

KENNY G A" BREATHLESS

ARISTA 18646(10.98/16.98)

217

JIMMY BUFFETT A' SONGS YOU KNOW BY HEART

MCA 5633* <7.98/11 98)

312

COUNTING CROWS A' AUGUST & EVERYTHING AFTER

OGC24528GEfF£N 110.98.15 981

121

ORIGINAL LONDON CASTA" PHANTOM OF THE OPERA HIGHLIGHTS

POLYDOR 831563-,A4M <:O.90'17.98)

340

THE SMASHING PUMPKINS A" SIAMESE DREAM

VIRGIN 88267* l9.98'I5.98l

148

SOUNDTRACK A’ PULP FICTION

MCAniO3*UO.98/16.90)

STEVE MILLER BANDA" GREATEST HITS 1974-78

CAPITOL 46101 <7.98.'l 1.98)

300

QUEEN A GREATEST HITS

HOLLYWOOD 161265 (10.9a'17.9S)

212

METALLICAA* MASTER OF PUPPETS

ELEKTRA 6043SVEE6 (9.98/15.98)

329

METALLICAA* RIDE THE LIGHTNING

MEGAfORCE 6O39&tEG(9.90-15.98)

311

JANIS JOPLIN A* GREATEST HITS

COLUMBIA 32 168 (5.98 ECV9.98)

256

THEDOORSA* GREATEST HITS

ELEKTRA61996/EEG (10.9&16.98)

129

KORN A KORN

IMMORTAL 6063aEPIC (10.98 Ea'15.98)ffi

LIVEA* THROWING COPPPER

RADIOAaiVI 10997rVCA (10.98/16.98)

122

VARIOUS ARTISTS • JOCK ROCK VOLUME 1

TOMMY BOY 1100 0098/15.98)

TRACY CHAPMAN A" TRACY CHAPMAN

(;lEKrRA607/4,i;E6(7.9a'11.98)

ENIGMAA* THE CROSS OF CHANGES

CHARISMA 39236/VlRGtN 00.98/16.98)

PEARL JAM A’ TEN

EPIC 47657* 00.98 E(V16.98) B

253

PATSY CLINEA' 12 GREATEST HITS

MCA12*(7.9a'12.98)

274

MAOONNAA* THE IMMACULATE COLLECTION

SIRE 26440‘AVARNER 8HOS. 03 96V18.98)

221

NINE INCH NAILSA^ PRETTY HATE MACHINE

TVT2610* (9.98/15.98)

278

VINCE GILL A’ WHEN LOVE FINOS YOU

MCA 11047 (10.90/15.98)

114

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THE BEATLES A“ ABBEY ROAD

CAPITOL 46446* OC 08 16.08)

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MARVIN GAYEA EVERY GREAT MOTOWN HIT

MOTOWN 636058 ;7 08 11 98'

Catalog albums are older titles which have previously appeared on The Billboard 200 Ibp Albums chart
arKl are registering significant sales. • Recording Industry Assn. Of America (RIAA) certiricdtion for sales
of 500,000 units. A RIAA certification for sales of 1 million units, with multimillion sellers indicated by
a numeral following the symbol. Most albums available on cassette and CO. *Asterisk indicates vinyl IP
is available. Most tape prices, and CO prices for WEA and 6MG labels, are suggested lists. Tape prices
marked EQ. and all other CO prices, are equivalent prices, which are pro^ted from wholesale prices.

■ indicates past or present Heatseeker tide. «1997, 6illboard/BPI Communications, and SoundScan, Inc.

Merchants & Marketing
Fate Of Austin’s DejaDisc A Sign Of Bad Times

Owner Puts Indie Label On Hiatus, Seeks Job In Nashville

A CAUTIONARY TALE: We re-
count the following story about the
fortunes of one fine but ill-starred
independent label with the fear that
other indie imprints might be faced
with a similar scenario in the after-
math of the cataclysmic business year
just past.

We’ve known Steve Wilkison for
several years. We first met him in
Austin, Texas, in the early ’90s.

Wilkison runs DejaDisc, an out-
standing roots-oriented label. The
company has drawn its artists pri-
marily from the fertile Texas talent
pool: DejaDisc has issued albums by
Ray Wylie Hubbard, Richard Buck-
ner (now signed to MCA), Michael
Fracasso, and Elliott Murphy. A
couple of his acts, the stellar country
singer Wayne Hancock and the inde-
scribable Austin band Shoulders,
have been profiled in this column.
Last year, Wilkison collected an Indie
Award from the National Assn, of
Independent Record Distributors and
Manufacturers (NAIRD) for “Pop-
sucker” by the Wannabes, which was
voted best alternative rock album.

Wilkison has always done every-
thing the way it’s supposed to be
done. His albums were handsomely
packaged and well recorded, and, as
Declarations of Independents knows
from experience, he talked up his
releases with passion. DejaDisc
secured national distribution through
the REP Co. in Minneapolis, which
has always boasted a small list of
high-quality labels.

So it came as a shock when we
learned early this year that Wilkison
had put the label on hiatus, folded up
his tents, and moved to Nashville,
where he is looking for a full-time job
at a record label.

He explains, “1996 was a very, very,
very bad year for us . . . Last year was
so bad that we had literally no money
coming in.”

Wilkison’s tale of woe is one that
will ring a sympathetic chord with
anyone who reads this column regu-
larly: Retail instability last year led
to a mountain of returns, which ended
up landing on DejaDisc’s doorstep.

Echoing a complaint voiced with
frequency at NAIRD’s convention in
Baltimore last May, Wilkison says
that one of the few routes left for
indies seeking to get stores to accept
their product in quantity is a gamble
that usually doesn’t pay off.

“Every square inch of retail is for
sale,” Wilkison says. “Retail pro-
grams cost us far more than we see
back in sales. Now, it doesn’t matter
how much they like a record. You’ve
got to ante up $4,000 for a listening
post. Even if they sold every piece
they took, it wouldn’t begin to pay for
the program.”

Perhaps understandably, Wilkison
takes a dark view of an indie label’s
chances in the market today: “From
my humble perspective, it’s getting
harder and harder for labels like mine
to get anywhere with baby bands,
unless you’ve got a shitload of money
to spend.”

He adds, “A lot of labels are going
to close down or go dormant, and a lot
of artists will go unrecorded because
people like us won’t do it anymore.”

But Wilkison insists that he hasn’t

mmm

WOFj})}

HEPENHIS,.

by Chris Morris

given up on DejaDisc, and he says
that the Austin papers that reported
he had folded the company were in
error. “Basically, everything’s on
hold,” he says. “But I’ve gotta find a
job like everybody else.”

We hate to say it, but Wilkison’s
predicament — that of a guy who did
everything right, and still ended up
getting buried — might be one that
grows more familiar this year, as the
returns crisis that wracked distribu-
tors in ’96 finally comes home to roost
with the labels, many of which may be
getting all too accustomed to getting
paid in returned product. We can only
hope that the magnitude of the situa-
tion doesn’t become horrifically clear
as 1997 rolls on.

Flag waving: You’ve met Peter
Holsapple in this space before. Three
years ago, we wrote about the debut
release of his terrific L.A.-to-New
Orleans transplant the Continental
Drifters.

But Holsapple, who continues to
front the Drifters, has just issued a
new solo album, “Out Of My Way,” on
New Orleans’ Monkey Hill Records,
the label that also released the
Drifters’ debut release.

(Coincidentally, Monkey Hill is dis-
tributed by New York’s Big Daddy
Music Distribution (!k)., which is oper-
ated by Burt Goldstein, who was
Holsapple’s boss at the Big Apple
retail outlet Music Maze during the
’70s.)

Amazingly, Holsapple — who was
featured with Chris Stamey in the
sublime ’80s pop-punk band the
dB’s — hasn’t put out a solo project
since the single “Big Black Truck,”
which he cut in 1977.

The current project was a long

time coming, according to Holsapple.
“It was done over six days — over five
years,” he says with a chuckle.

Holsapple’s full live-performing
schedule may have had something to
do with the delay: In addition to play-
ing with the Drifters, he has been
employed for the last two years as a
multi-instrumental “utility man” for
Hootie & the Blowfish. (He per-
formed a similar role on tour with
R.E.M.) He has also worked in the
studio recently with such varied tal-
ents as John Hiatt, Nanci Griffith,
and Better Than Ezra.

“It’s really nice to get paid to be a
musician for seven months of the
year,” Holsapple says of his gig as a
super-sideman. “I like being the
assistant director. My business card
says, T like making you sound more
like you do.’ ”

He adds modestly, “I’ve never been
hellbent on getting a solo record done.
The older I get, I don’t feel like the
world is beating down my door for a
solo record.”

Well, the world should be. “Out Of
My Way” is a delightfully varied and
distinctively played work that com-
bines the rootsy elements of the Con-
tinental Drifters’ sound with the pop-
rock influences that have served
Holsapple well throughout his career.
The standout tracks on this consis-
tently engaging set include the
Beach Boys-flavored title cut, the
sober “Couldn’t Stop Lying To You,”
and the rocking opener “I Been
There.”

Among the supporting players are
Holsapple’s wife, Susan Cowsill (for-
merly of the Cowsills, now with the
Drifters), ex-Bangles guitarist'vocal-
ist Vicky Peterson (another Drifters
recruit), and Benmont Tench of the
Heartbreakers.

Holsapple, who terms the Conti-
nental Drifters “the most important
thing” in his life, just completed dates
with the band on the East Coast. He
hopes to take the group back out on
the road after he completes Hootie
tour commitments in Asia, which will
keep him occupied from late Febru-
ary through April.

TEN

^7X YEARS AT

'rma

(NiH)

MUSIC

COMPACT DISCS
•CASSETTES
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Copyrighted material

BILLBOARD FEBRUARY 1, 1997

The Enter*Active File

MERCHANTS & MARKETING

Survey: Older Demos Crucial To Online Retaii

■ BY BRETT ATWOOD

LOS ANGELES— Online or World
\\nde Web-based music retailers have a
unique opportunity to reach consumers
who are 30 or older, according to a new
study by Red Bank, N.J.-ba^d Music
Marketing Network (MMN), which
was conducted in cooperation with
America Online (AOL).

Most of those who do buy online are
30 or older, which is a more mature
demographic than the 16-24 core music
consumer at traditional retail.

“The industry has the opportunity to
develop online music sites that bring in
a new audience that has been dormant
or inactive, compared to the traditional
online consumer,” says Caroline Eich-
man, senior VP of research for MMN.

Most consumers who buy online cite
convenience as their main motive for
making their purchase, according to
the study.

“For music, there is a niche forming
for people who are over 30 that may not
feel comfortable shopping in a Tower
Records for their music, where they
have to deal with an employee who has
purple hair and pierced eyebrows,”
says Emily Green, an analyst for For-
rester Research, which was not in-
volved in the MMN/AOL study.

About 1,454 AOL subscribers re-
sponded to the survey, which was con-
ducted in AOL’s Rew^ Town, a shop-
ping venue that rewards survey
participants with incentives, such as
free online time. To qualify for the

■ BY SHAWNEE SMITH

NEW YORK — Rap fans who like their
music uncensored are turning to the
Internet’s RapRadio, a music site that
contains several hours of rap tracks
that aren’t likely to be heard on con-
ventional radio. Since Internet radio
stations are unrestricted by the Feder-
al Communications Commission, Rap-
Radio (http://www.rapradio.cora) is
aiming to capture a niche among com-
puter users who want to hear the orig-
inal versions of music from artists like
2 Live Crew, Lil’ Kim, and Luke.

“One of our main points is that we
play the music raw and uncensored, the
way the artists intended it,” says Sean
Roberts, who co-founded the site with
Mark "Geronimo” Bingaman. “It helps
us, but it’s helpful to the artists, too,
because regular radio can sometimes
chop songs to hell.”

The site contains “RapRadio,” a four-
hour, commercial-free mix show that
plays 80-100 of the latest rap hits se-
lected by Bingaman, who is based in
Salt Lake City. Another RealAudio-
delivered show is the gritty “Uncle
Nasty’s Power Hour,” which also fea-
tures rap.

RapRadio also includes “Chat With
Tha Headz,” which aUows users to chat
about their favorite acts and tracks;
“Tha Graffiti Wall,” which simulates
graffiti online; “Play Tha Gamez,”
which features online games; the com-
edy area “Comic Stop,” which includes

study, participants must have made at
least two album purchases in the three
months prior to the Sept. 30-Oct. 10,
1996, poll. The survey was also distrib-
uted equally between respondents who
had visited online music sites and those
who had not

Consumers under 30 are also fre-
quent visitors to music retail sites, but

most of them are not buying online,
according to the study.

“Younger people are not as interest-
ed in purchasing online, but they still
are influenced by what they find on the
Internet” says Eichman. “They look at
the shopping experience as entertain-
ment but they may not have the ability
^ to buy online. Most teens don’t have
access to credit cards, and they are
more sensitive to price.”

Consumers of all ages view online
prices as too high, according to the sur-

snippets of routines by such stand-up
faves as Sam Kinison, Martin Law-
rence, and Adam Sandler; and “Tha
New Shit,” where visitors can hear
newly released singles in their entire-
ty. In the coming months, the site will
add live events and the rap clip show
“Tha Video,” a one-hour mix show fea-
turing top DJs across the country.

“Standard radio and labels go at
their own pace, but the Web is 10 times
faster,” says Roberts. “Record compa-
nies still have a hard time understand-
ing that when we say we are going to
do something next week, we’re going to
do it next week.”

Roberts says that he puts music into
play as soon as he gets it. "We pre-
miered the new Snoop and Dr. Dre sin-
gles before a lot of radio stations could
clear it and play it, which is great for
our listeners from Australia and Ger-
many who get to hear what’s hot in the
U.S. a couple of months before they
actually get it”

Several of the major labels service
RapRadio through record pools, but
according to Bingaman, Island, Lil’ Joe,
Interscope, and Sunshine Records have
been the most generous widi the promo
items that fuel RapRadio’s contests.

Joyce Straws, national director of
urban and crossover promotion for Lil’
Joe, home of such acts as 2 Live Crew
and RufTtown Mob, heard about the site
throu^ industry contacts and supports
it “It seems to work for our market and
helps give us a base.”

vey. Some 87% of respondents say that
online prices should be no higher than
those at record stores.

“There is a general |>erception that
when a consumer buys online, they are
cutting out the middle man and that the
price should be lower,” says Eichman.
“The aver^ consumer probably does-
n’t understand the economics and pric-

ing issues of online retail.”

Some 44% of survey respondents
have made a music or nonmusic pur-
chase online, and 72% of those shoppers
were age 30 or older. However, that high
figure may be partly due to the fact
that the survey was conducted in an
online shopping-themed area of AOL.
Another study by PC Meter suggests
that only 25% of home Web users have
visited shopping sites.

The majority of Web shoppers are
male, which is a far cry from the cata-

Martha Reynolds, senior director of
crossover promotion at Island, which
distributes Luther Campbell Music,
views RapRadio as the cutting edge in
disseminating rap. “They are taking
technology and making it work for an
art form that comes from the streets.”
Bingaman and Roberts are hoping to
broadcast RapRadio live by 1998.

Roberts is hoping to get a few naUon-
al sponsors. “I’d like to get someone like
Pepsi to sponsor the show,” he says.
“But we aim to remain completely com-
mercial-free, audio-wise.”

The site’s immediate goal is to pro-
vide hip-hop fans outside of the top 10
urban markets with the latest hip-hop.

“Its genesis is with my 16-year-old
brother in Lima, Ohio,” says Bingaman,
a 12-year radio veteran. “He’s a big rap
fan, and there’s no radio station in the
Lima area that plays rap. He doesn’t
get BET, so the only rap music he gets
is what’s being played on MTV That
selection is very limited, and with the
growing controversy over gangsta rap,
I knew it would only get worse.

“It suddenly occurred to me that
there must be tens of thousands of kids
out there like my brother, who would
love to listen to the latest in hip-hop,”
Bingaman adds. “I also realized that
every house would have the opportuni-
ty to hook up to the Web, and 1 decided
to fulfill that niche.”

Assistance mp)'eparing this story ivas
provided by Robpn Scheiifeld.

log-shopping demographic, which is
dominated by women, according to
Bruce Ryon, VP/chief technology ana-
lyst of PC Meter, which tracks and
ranks the traffic of Web sites but does
not report on the transactions that take
place on each site.

Among online consumers of music,
classical and jazz/blues fans are more

likely than fans of any other genre to
buy online, according to the MMN/AOL
study. The main reason many users
have not yet made a purchase online is
concern over the security of such trans-
actions, according to Eichman.

The leading non-shareware enter-
tainment retail site online is Columbia
House, which sells music, video, and
CD-ROMs. The site received a 2.5 rat-
ing by PC Meter, which translates to
2.5% of the polled Internet audience.

Columbia House’s Web address
(http*y/www.columbiahouse.com) is fea-
tured in TV print, and direct-mail ads.

“Web traffic tends to be interrelat-
ed to \diatever publicity the site creates
in other media,” says Ryon. “Every
time a company puts a Web address on
a TV spot, their traffic goes up consid-
erably.”

Also popular were BMG Music Ser-
vice (1.0), CDnow (1.0), and Music
Boulevard (0.7).

Internet shopping site traffic is on
the rise, according to Ryon. The latest
PC Meter report indicates that online
retail visits rose from 16.7% of home
Web users in March 1996 to 24.8% in
September.

Forrester’s Green estimates that
electronic retail sales for 1996 totaled
about $500,000.

“We had a record-breaking month
for sales in December,” says Larry
Rosen, CEO of N2K Inc., which oper-
ates Music Boulevard.

Online transactions rose significant-
ly for the holiday season at Newbury’s
Web site, according to Kristin Lieb,
director of marketing for Newbury
(Ernies Interactive.

“Our Internet sales skyrocketed this
holiday season,” says Lieb. “Our sales
were seven times higher than normal
for the month preceding Christmas.”

However, not all is rosy in the world
of electronic retail. 'The highest profile
failure is MCi’s 1-800-MUSIC-NOW,
which included a now defunct Web site.

“That had less to do with the viabili-
ty of electronic retail and more to do
with the MCI’s inability to break into
the music biisiness,” says Green. “A lot
of companies have found that they need
to stay true to their core business on
the Internet. MCI won’t be the last to
find that out”

MMN Survey: Online
Sites Not Influential

MUSIC SITE STATS: Online music sites
are not yet a major influence on how
music consumers learn about music,
according to a study by Music Market-
ing Network, in conjunction with
America Online (AOL).

Only 13% of respondents indicated
that online music sites have a high
amount of influence in their music buy-
ing. However, the survey suggests that
there is a high potential for these sites
to soon play a significant role in the
exposure of new music to consumers.
Some 67% of respondents said that
they were slightly influenced by what
they see and hear online.

iWns and males are the most likely
to visit a music-themed Web site,
according to the study. About 22% of
surveyed teens indicated that commer-
cial or World Wide Web music sites are
important places to learn about new
music.

Label Web sites ranked low among
consumers, who say that they prefer
visiting sites about artists. While 28%
of respondents say that they most often
visit sites about specific artists, only
12% prefer to frequent label sites. How-
ever, 84% of respondents said that they
do not mind receiving information
about their favorite artists directly
from record companies via E-mail or
other communication.

Some 42% of music site visitors pre-
fer downloadable and real-time audio
samples over other types of music con-
tent. Also important to Web users is
information on rare and hard-to-find
music, as well as data on new releases.

While most respondents access AOL
and the Web with a 28.8 kl^ modem,
49% of respondents said that they
would sacrifice sound or graphic qual-
ity to improve the speed of accessing
site features.

The same survey also measured the
prospect of online music retail sites (see
story, this page).

SONICNET SOLD: Paradigm Music
Entertainment has acquired the online
music site SonicNet (httpy/www.sonic-
netcom) from Prodigy Services Corp.
and Sunshine Interactive Network
(SIN). SonicNet, which has a retail
alliance with CDnow, plans to expand
into Japan, Europe, and South Ameri-
ca. As a result of the deal, Prodigy and
SIN will hold an interest in Paradigm.

BITS ’H BYTES: Former Aerosmith co-
manager Keith Garde has been named
executive VP in charge of strategic
marketing and new business develop-
ment for Patxi Entertainment Net-
work. Among the sites the company
produces are Supermodel.com, Super-
star.com, Deadties.com, Starfile.com,
and Fan Emporium.com . . . Reel Inc.
has launched Reel.com, a movie-
themed Web site at httpy7www.reel.
com. The site contains Reel Genius, a
customized intelligent agent technolo-
gy that recommends movies to visitors
based upon each visitor’s tastes. In
addition, Reel.com contains reviews,
trivia contests, chat rooms, and a retail
site . . . RCA Victor is releasing an
enhanced-CD version of the soundtrack
to the Cirque du Soleil production
“Quidam.” The disc contains photo-
graphs, sound samples, and video
footage from the musical production.

BILLBOARD FEBRUARY 1. 1997

Web’s RapRadio Keeps Rap Undiluted

Internet Radio Outlet Enjoys Speed, Lack Of Restrictions

Have You Ever Made A Purchase Of Any
Kind Online?

44% of ail respondents have made a purchase online

B«m: Made An Onlirve PurchaM (ns632)

Gender Age

Source: The Onine Music Corwicner, Music Marketing Network, October 1996

What Is The Main Reason You Haven’t Made
Any Purchases Online?

Baso: Never Made Purchase Online (ns822)

Dent Vfam lo Walt For Delivery H 6%
Too MechEtton/TM Complex m 6%

Source; The Online Music Consunwr. Music Marttating Network. October 1996

Copyrighted i

Home Video

MERCHANTS & MARKETING

The Ghost With The Most. Manga Entertainment and PolyQram Video cele-
brated “Ghost In The Shell" sales with a bash for more than 100 employees of
Ingram Entertainment and their families, who were treated to a night of electronic
games echoing the movie’s futuristic story line. Wondering if they’re having fun
yet, from left, are Jay Gustafson, PolyGram; Jesse Marino. Ingram; Shawne
Kleckner, Right Stuf International; Mike Egan, Manga; and Kelly Adams. Ingram.

Volume Up On ‘Extreme’ Videos

New Breed Of Sports Fans Seeks Thrills

■ BY CATHERINE APPLEFELO OLSON

WASHINGTON, D.C.— Football,
baseball, basketball . . . blah, blah,
blah. For a new generation of sports
fans, the name of the game is compe-
tition that’s not relegated to field,
court, or century-old rules. Instead,
it goes to the extreme.

And with the rise in extreme-sports
fans comes a rise in \ideos from famil-
iar and unfamiliar vendors that bring
a piece of the action — skysurfing,
bungee jumping, street luge, whatev-
er — home to armchair athletes.

Cable network ESPN got much of
the credit for legitimizing the concept

of extreme sports when it introduced
its decidedly ’90s “X Games” last sum-
mer. Along with the games came a
cassette distributed by ABC Video
which documented the competition.
(The network unit in Stamford, Conn.,
has since been absorbed into parent
Disney’s video operations in Califor-
nia.)

“Kids are looking for something
that’s different from what the estab-
lishment does,” says Sharyn Taymor,
director of ESPN Enterprises. “They
are giavitating to sports that are very
active — in-line skating, skateboarding
— that they actually participate in.

“For others, such as street luging

and skysurfing, people are interested
in them because of the thrill.”

Other people aren’t so sure that the
extreme can stay within the bounds of
public propriety. Last month. The
New York Times editorialized against
the “extreme barbarism” of ultimate
fighting, whose rules allow opponents
to do anything except gouge eyes and
bite.

The city of New York earlier had
blocked exhibitions in local arenas,
but the state subsequently decided to
sanction the sport. It already has a
niche in video thanks to Vidmark’s
highly profitable multitape series,
(Continued on page 59)

Blockbuster Takes Steps To Reduce
DBS Damage; DVD On The Mall

DlOCK THAT DISH: Every cloud — in the vshape of a
satellite dish — has a silver lining. While most video retail-
ers are fretting over the impact that direct broadcast satel-
lite (DBS) delivery will have on their business, Blockbuster
is doing something about it

According to trade sources, the megachain six months
ago began circulating to the studios the results of a survey
of DBS homes. The bottom line, reinforced during meet-
ings at company headquailers in Fort Lauderdale, Fla., is
that DBS will badly damage retail. That is, unless Holly-
wood does the right thing and reduces the wholesale cost
of new releases.

The Blockbuster ap-
proach, part of an overall
strategy to leverage better
terms from vendors, is the
mirror image of studio tac-
tics 10 or 15 years ago.

Back then, Paramount, a
corporate afliliate of Block-
buster, in particular would
exhort retailers to buy
wider and deeper in order
to better compete against
cable — and then make video the bogeyman at meetings of
cable operators.

Using DBS as a lever, Blockbuster is emphasizing rental
titles, but as it plans to devote more space to sell-through,
presumably under-$25 cassettes are also part of its cost-
cutting campaign. The chain doesn’t plan to pass along
these savings to consumers, who already have a pretty good
entertainment value, we’re told.

Instead, Blockbuster would use a portion of the fatter
mai^ns to reinforce marketing and promotion. (Of course,
parent Viacom is also expected to benefit from improved
cash flow.) Hollywood needs to take sides vs. DBS, so runs
the argument, lest home video wither away.

That’s not going to happen anjrtime soon, others indicate.
Retail analyst Curt Alexander says that the DBS threat
is overrated, and Alexander & Associates’ Bob Alexander
(no relation) thinks it has had “no measurable impact.”
A&A is conducting its first survey of DBS owners, asking
1,000 of them 80 questions about the effect of the service
on video, cable, and broadcast viewership. Brokerage house
Sanford Bernstein in New York, which regularly uses A&A
data, will discuss the results with its clients via a satellite
feed Feb. 4, according to Bob Alexander.

The surveys conducted thus far haven’t impressed Curt
Alexander of Media Group Research in Providence, R.I.
His complaint: There has b^n no follow-up to studies, such
as the one conducted by Inteco last year, that indicated
rapid DBS inroads. To the contrary, he maintains, DBS has
suffered from “diminished word-of-mouth” once customers
recover from the thrill of a new Christmas gizmo.
Researchers haven’t gone back in the following months to
measure whether the level of enthusiasm has faded.

It’s no coincidence, he says, that none of the DBS ser-
vices made their installed-dish projections for 1996. His
data indicate DirecTV expected to have 3 million sub-
scribers but settled for 2.3 million; PrimeStar wanted 2
million and got 1 million; and newcomers EchoStar and
Alphastar each enteretl fewer than 10% of the homes they
hoped to sign.

“So cable systems don’t have to w'orry about increasing
channel capacity, and video retailers don’t have to worry
about smaller release windows,” Alexander reasons.

Inauguration: dvd

got a Capitol reception
when Warner Home Video
and Intel were invited to
display the new optical for-
mat as part of the 21st-
century technology exhib-
it mounted for President
Clinton’s inaugural in
Washington, D.C. (see
Shelf Talk, page 58).

It was the first public
DVD demonstration of a
Warner movie, “Batman Forever,” according to spokes-
woman Gail Becker. Those of the 2(X),000 visitors to the
tented displays who stopped to watch “loved it,” she adds.
“It was exciting to see the reactions.” Intel showed off DVD-
ROM capabilities, including a segment of Warner’s “Eras-
er,” starring Arnold Schwarzene^er, on a PC screen.

But a sales pitch it most definitely wasn’t. U.S. Park
Service regulations forbade any attempt to turn sightseers
into shoppers. “They wouldn’t even let us hand out press
releases,” Becker comments. Warner is one of just two
studios committed to supporting the DVD player intro-
duction this spring. Some 30-40 titles are tentatively sched-
uled for release.

That’s not enough for Thomson Consumer Electronics,
which last year led the hardware charge until copy pro-
tection snafus forced a delay. Now' Thomson is deferring to
Hollywood, sources indicate. “When there’s a strong avail-
ability of titles, then they’ll bring a player to market,” says
an observer close to the company. “There’s no reason to
hype something that’s not ready. They don’t want to go
through [1996] again.”

V IDBITS: Barbour/Langiey Productions has been grant-
ed a preliminary injunction that pre%'ents Diamond Enter-
tainment from selling or marketing “Real Cops In Action.”
Diamond is required to recall all copies from distributors
and retailers and impound cassette sleeves. Barbour/Lan-
gley and its distribution company. Real Entertainment,
claims that “Real Cops” is a knockoff of its successful
“Cops” series (Picture This, Billboard, Jan. 18). “We won’t
tolerate market confusion based on unfair business prac-
tices,” says Real Entertainment chairman John Langley.

by Seth Goldstein

PolyGram Video Steps Lively
To Promote Dancer’s Latest

■ BY EILEEN FITZPATRICK

LOS ANGELES — Hot on the step-
dancing heels of “Riverdance,” Poly-
Gram Video is bringing “Lord Of The
Dance” to stores Feb. 11. The cassette
promises the vendor a princely return
on investment.

Priced at $24.95, “Lord Of The
Dance” stars “Riverdance” lead dancer
Michael Flatley, w'ho defected from the
show' after the video w'as released to
start his own troupe.

Like “Riverdance,” Flatley’s new'
show combines traditional Irish dance
and music against a modern backdrop
of high-energy choreography and
pyrotechnics. “‘Riv'erdance’ paved the
way for thi,s type of program,” .says
PolyGram director of marketing Sal

Scamardo. “But this new' show goes a
few' steps beyond.”

First released in the U.K. and Aus-
tralia last fail, “Lord Of The Dance”
has already racked up combined sales
of more than 1 million units. Its prede-
cessor broke the ground for this kind
of i*esponse.

When “Riverdance” hit U.K. stores
in 1995, it sold more than 2 million cas-
settes and became the record-setting
non-DLsney title, according to VCI, the
title’s U.K. distributor. Since its release
in the U.S. a year ago, “Riverdance”
has sold w'ell into the six figures, say
sources close to distributor Columbia
TriStar Home Video.

Its success has prompted PolyGram
to keep, not break, the marketing
(Continued on page 60)

HOW SWEET
IT IS.

Give them the hits they just can’t resist.

Playboy’s Twins & Sisters Too, Playboy’s Making Love Series
Volume II: Tantric Lovemaking and Volume III: Dr. Ruth’s
10 Secrets for Greater Sensual Pleasure. The perfect way
to play Cupid this Valentine’s Day!

□

PLATBOT HOME VIDEO

www.iHaylMy.com

BILLBOARD FEBRUARY 1 . 1 997

Home Video

MERCHANTS & MARKETING

Rhett & Scarlett On DVD;
Restored ‘Vertigo’ On VHS

Gone with the price: Tucked

away in the list of DVD titles expect-
ed from Warner Home Video is “Gone
With The Wind.” On the surface this
might not be worth noting, but it will
be the first time the classic is being
made available at sell-through.

One of the few catalog titles still
priced to rent, MGM/UA has wanted
to lower the suggested list price for
years. Ted Turner, who owns the
movie, wouldn’t allow it, but now that
Turner is part of the Time Warner
empire, the old price is literally gone
with the wind.

The timing is
“Gone With
The Wind” to
$25 is a sales
incentive that
could influence
the purchase of
DVD players.

Add a few
exclusive ex-
tras for the
release, and Warner Home \^deo will
have an event title on the scale of a
Disney reissue.

Meanwhile, the Presidential Inau-
gural Committee invited Warner and
microprocessor manufacturer Intel to
Washington, D.C., to demonstrate
DVD and DVD-ROM during the fes-
tivities surrounding the president’s
second inauguration.

The exhibit was part of the Tech-
nology Playground, a group of heat-
ed pavilions that displayed the latest
electronic and digital ad\'ancements.
The exhibition space was open to the
public Jan. 18-19.

Scaling new heights: Fresh

from its limited theatrical rerelease,
the restored Alfred Hitchcock clas-
sic “Vertigo” will be released on video
March 25, priced at $19.98 from Uni-
versal Stu^os Home Video.

Available in wide-screen, “Vertigo”
will also be packaged in a deluxe col-
lector’s edition for $79.98. The latter
includes a documentary on the mak-
ing of the movie and its restoration,
as well as production drawings, sto-
ryboards, and photos.

Universal will take advantage of
the San Francisco location by con-
ducting a consumer sweepstakes that
will award a trip for two to the city by
the Bay. Entry forms for the contest
will be packed in each “Vertigo” box.

In addition, consumers who pur-
chase the title with a Discover credit
card can receive a $5 rebate. “Verti-
go” cassettes will have stickers alert-
ing consumers to both promotions.

Universal has also sprung for a
four-page ad in the April “Hollywood”
issue of Vanity Fhir and a full-page ad
in the Academy Awards issue of
Entertainment Weekly to tout the
title’s consumer offers.

Direct delivery: streamlining

its video delivery system, Tower
Video’s 100 stores will receive ship-
ments directly ftx)m suppliers instep
of from the chain’s warehouse, locat-
ed at the company’s headquarters in
West Sacramento, Calif.

Tower VP of video John Thrasher
says the change will enable stores to

get a wider array of product faster, as
well as saving the chain money. In
addition, he says, sales tracking and
return management will be easier.
“It’s just less cumbersome this way.”

Already on board are Columbia
TriStar Home Video, Warner Home
Video, Universal Music and Video
Distribution, and Pioneer for laser
product, Buena Vista Home Video and
20th Century Fox Home Entertain-
ment should be up to speed with the
new program by the end of this
month, and Paramount Home
Video is expected to comply by
March.

Buying func-
tions, conduct-
ed by individ-
ual stores
placing their
orders through
headquarters,
are unchanged.

'Kombat’

READY: PolyGram Video is releasing
two more cassettes from the animat-
ed television series Mortal Kombat,
tied to a video-game cross-promotion.

New titles arriving in stores Feb.
25 are “Skin Deep” and “Old Friends
Never Die,” each priced at $9.98.
Packed inside packages will be a $5
rebate coupon, redeemable when con-
sumers also purchase the video game
“Mortal Kombat 3” or “Mortal Kom-
bat Trilogy,” manufactured by Mid-
way Games.

Additional coupon inserts will offer
consumer discounts on “Mortal Kom-
bat” merchandise. And a new CD
from TVT Records is to contain an
insert advertising the new releases.

PolyGram will support the new
releases with ads on the USA Net-
work, which airs the series. A radio
promotion in the top 20 markets is
also planned.

Brand identity Buena Vista

Home Video appears to have become
obsessed with branding.

Retailers that had the Disney Mas-
terpiece Collection, the Disney Video
CoUection, and the Family Adwnture
Collection now can add Great Amer-
ican Epic Series to their displays.
Great American Epic, due in stores
Aug. 26, lumps together “Davy
Crockett: King Of The Wild Fron-
tier,” “Davy Crockett And The River
Pirates,” “Johnny Tremain And The
Sons Of Liberty,” and “The Light In
The Forest”

“Tremain” and “Light” are being
touted for their first-time video avail-
ability. Each title, priced at $19.99, is
spiffily packaged and cross-promoted
with a $2 instant rebate for consumers
who purchase “Mary Poppins.”

With the competition for shelf
space tighter than ever, slapping on a
brand identity is a clever marketing
gimmick. And like many successful
gimmicks, it’s in danger of being
stretched almost beyond recognition.
Calling “Davy Crockett” an “epic”
could be considered something of an
exaggeration.

The possibilities are endless: How
about Reptile Classics featuring ‘The
Teenage Mutant Nir\ja Turtles”?

right. Dropping

SHELF Xl
TALK iJ

by Eileen Fitzpatrick

Billbooid. FEBRUARY 1, 1997

Video

Sales

THIS WEEK

LAST WEEK

WKS. ON CHART

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE SALES REPORTS.

- Label Principal

Distributing Label, Catalog Number Performers

Year of
Release

Rating

Suggested
List Price

INDEPENDENCE DAY

★ ★ ★ No. 1 ★ ★ ★

FoxVideo4ll8

Will Smith
Jeff Goldblum

1996

P6-13

22.98

TOY STORY

Walt Disney Home Video
Buena Vista Home Video 6703

Tom Hanks
Tim Allen

1995

26.99

MISSION: IMPOSSIBLE

Paramount Home Video 31899*3

Tom Cruise

1996

PG-13

14.79

THE NUTTY PROFESSOR O

MCA/Universai Home Video
Uni Oist. Corp. 82594

Eddie Murphy

1996

PG-13

22.98

TWISTER

Warner Home Video 20100

Helen Hunt
Bill Paxton

2996

F6-13

22.%

RIVERDANCE-THE SHOW

VC!

Columbia TriStar Home Video 84060

Various Artists

2996

24.95

MATILDA

Columbia TriStar Home Video 86863

Danny DeVito
Rhea Perlman

1996

15.95

THE LAND BEFORE TIME IV

MCAfUniversat Home Video
Uni Dist. Corp. 82396

Animated

2996

19.98

311: ENLARGED TO SHOW DETAIL

PolyGram Video 4400439253

311

2996

19.95

BRAVEHEART

Paramount Home Video 33118

Mel Gibson
Sophie Marceau

2995

24.95

PLAYBOY CELEBRITY CENTERFOLD:
SHANNON TWEED

Playboy Home Video
Uni Dist. Corp. PBV0796

Shannon Tweed

2996

19.98

JAMES AND THE GIANT PEACH

Walt Disney Home Video
Buena Vista Home Video 7894

Richard Oreyfuss
Susan Sarar^on

2996

22,99

PLAYBOY: 21 PUYMATES
VOLUME II

Playboy Home Video
Uni Dist. Corp. PBV0808

Various Artists

2996

19.98

COPS: TOO HOT FOR TV! 0

MVP Home Entertainment 1001

Various Artists

2996

19.98

E.t THE EXTRA-TERRESTRIAL

MCAAJniversal Home Video
Uni Oist. Corp- 82864

Henry Thomas
Dee Wallace

2982

14.98

PLAYBOY: GIRLS OF SOUTH BEACH

Playboy Home Video
Uni Dist. Corp. P8V0802

Various Artists

2996

19.98

198

THE WIZARD OF OZ ♦

MGM/UA Home Video
Warner Home Video 205898

Judy Garland
Ray Bolger

2939

19.98

WALLACE AND GROMIT: A CLOSE
SHAVE

BBC Video
FoxVideo 8399

Animated

2996

9.98

190

TOP GUN

Paramount Home Video 1 5396

Tom Cruise
Kelly McGillis

1986

5.99

THE ROLLING STONES ROCK
& ROLL CIRCUS

ABKCO Video 3878110033

Various Artists

1996

24.98

CLUELESS

Paramount Home Video 33215

Alicia Silverstone

2995

PG-13

14.95

HEAT

Warner Home Video 14192

Robert De Niro
/VI Pacino

1995

24.98

GOLDENEYE

MGM/UA Home Video
Warner Home Video 905495

Pierce Brosnan

1995

PG-13

19.98

THE WALLACE AND GROMIT
GIFT SET

BBC Video
FoxVideo 4101059

/Vnimated

1996

24.98

LES MISERABLES:

lOTH ANNIVERSARY CONCERT

VCI

Columbia TriStar Home Video 88703

Various Artists

1996

24.95

SENSE AND SENSIBILTY

Columbia TriStar Home Video 1 1 593

Emma Thompson
Hugh Grant

1995

19.95

PLAYBOY: 1997 VIDEO PLAYMATE
CALENDAR

Playboy Home Video
Uni Dist. Corp, PBV0797

Various Artists

19%

19.98

BRUCE SPRINGSTEEN: BLOOD
BROTHERS

Columbia Music Video
Sony Music Video 50139

Bnjce Springsteen &
The E Street Band

1996

19.98

THE ADVENTURES OF PINOCCHIO

New Line Home Video

Turner Home Entertainment N4438

Martin Landau
Jonathan Taylor Thomas

19%

19.98

WILLY WONKA AND THE
CHOCOUTE FACTORY

Warner Home Video 14546

Gene Wilder
Jack Albertson

1971

19.98

GREASEA*

Paramount Home Video 1 108

John Travolta
Olivia Newton-John

1977

1495

NEW^

LEAVING LAS VEGAS

MGM/UA Home Video
Warner Home Video 905524

Nicolas Cage
Elisabeth Shue

1995

19.98

NEW^

PINSTRIPE DESTINY

Major League Baseball Prod.
Orion Home Video 96012

Various Artists

19%

19.98

OLIVER & COMPANY

Walt Disney Home Video
Buena Vista Home Video 6022

Animated

1988

26.99

FLIPPER 0

MCA/Universal Home Video
Uni Dist. Corp. 82825

Paul Hogan
Elijah Wood

19%

19.98

NEWb-

RUMBLE IN THE BRONX

New Line Home Video

Turner Home Entertainment N4410

Jackie Chan

19%

19.98

THE ABYSS

FoxVideo 1561

Ed Harris
Mary Mastrantonio

1989

PG-13

19.98

308

THE SOUND OF MUSIC ♦

FoxVdeo 4100444

Julie /Vndrews
Christopher Plummer

1965

19.98

RE-ENTRY

STAR WARS TRILOGY

FoxVideo 0609

Mark Hamill
Harrison Ford

1995

49.98

THE BEATLES ANTHOLOGY

Capitol Video

Turner Home Entertainment 5523

The Beatles

19%

159.95

• RIAA gold cert, for sales of 50.000 units ot $1 million in sales at suggested retail. A RIAA platinum cert, for sales of 100,000 units or $2 million in sales at suggested
retail. A ITA gold certification for a minimum of 125.000 units or a dollar volume of $9 million at retail for theatrically relea^ programs, or of at least 25,000 units and $1
million at suggested retail for nontheathcal titles. O ITA platinum certrTication for a minimum sale of 250,000 units or a dollar volume of $18 million at retail for theatrically
released pro^ams, and of at least, 50,000 units and $2 million at suggested retail for nontheatricat titles. G 1997, Billboard/BPI Communications.

BILLBOARD FEBRUARY 1,1^7

Home Video

MERCHANTS & MARKETING

EXTREME’ VIDEOS

(Continued from page 57)

“Ultimate Fighting Championship.”

Most of the newer competitions are
less raucous and more upscale, fit for
the MTV crowd. In fact, MTV has
been pumping up the volume on its
extreme-sports coverage in an effort
to keep pace with the trends of its
core audience. The \^acom subsidiary
telecasts the “MTV Sports” series,
and Sony Music Video (SMV) has an
aptly titled companion tape, “Longer,
Harder, Faster,” which was released
last year.

“We did relatively well with the
title,” says Alexandra Beeman, senior
director of marketing for SMV and
Sony Wonder. “The entire MTV home
video line really does well at tradi-
tional music and video outlets, and
that’s where this tape has done well.”

SMV helped alert extreme-sports
fans to the tape by creating a promo-
tional videoclip featuring the White
Zombie single, “More Human Than
Human,” and footage from the video
that had aired on MTV

“We used a lot of great music on the
tape, and getting the clip into rotation
on MTV did a lot to raise awareness,”
Beeman continues. “It was the first
title for us experimenting with ways
to incorporate extreme sports into a
video.”

The first, yes — and certainly not
the last. Beeman says SMV is looking
into releasing other entertainment-
oriented titles along the lines of
“Longer, Harder, Faster,” plus poten-
tial extreme-sports instructional
tap>es.

SMV also is touting less conven-
tional athletics in its new “Road
Rules” travel-guide series. “We are
incorporating extreme sports in terms
of showing certain travel destinations
where you can go and helicopter ski or
snowboard,” according to Beeman.

Big-name entertainment is only
part of the picture. The market has
seen a swell in extreme-sports tapes
from a host of smaller independent
labels pushing the perils of surfing,
mountain climbing, adventure boating,
auto racing, skydiving, and hang glid-
ing.

As the activities gain in popularity,
the videos garner a wider acceptance
among traditional retailers, says John
Mills, president of Mad Dog Produc-
tions. Mad Dog produces and distrib-
utes surfing videos such as its most
recent title, “Water Works.” Its sales
channels include video outlets, sport-
ing good stores, and direct-mail cata-
logs. The next Summer Olympics
should prevent a wipeout.

Mills says early buzz on the first-
ever inclusion of surfing as a sport in
the games in Sydney, Australia in 2000
is helping propel the sport to a wider
public. “The market is definitely
opening up,” he says. “Retailers have
become more open to carrying titles
because of the way the sport has
expanded during the past five years.”

For some vendors, going to the
extreme is a case of “been there, done
that.” While he agrees interest is
clearly on the rise, Simitar Enter-
tainment president Edward Goetz
says what he terms the “gee whiz”
category of sports videos has been
around a lot longer than many may
realize.

“Our history with extreme sports
dates back 12 years,” he says, noting
that Simitar’s fourth release was a
(Continued on next page)

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IN THIS FUNNY. PASSIONATE AND TOUGH LOOK
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STARRING JANET JACKSON
ANO TUPAC SHAKUR

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COLUMBIA TRISTAR

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Copyrighted material

BILLBOARD FEBRUARY 1. 1997

Billbxxird. febhuaby i, 1997

[op

Music Videos

THIS WEEK

UST WEEK

WKS. ON CHART

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND RACK SALES
REPORTS COLLECTED. COMPILED, AND PROVIDED BY SoundScanlt

lllliii

TITLE, Label Principal

Distributing Label, Catalog Number Performers

Type

Suggested
List Price

★ * NO. 1 ★ ★

LES MISERABLES: lOTH ANNIVERSARY CONCERT
VCI Columbkft TriStar Hom« Video 687D3

Various Artists

24.95

ENLARGED TO SHOW DETAIL
PotyCtem Video 4400439253

311

19.95

THE COMPLETE WOMAN IN ME

PolyGram Video 4400450893

Shania Twain

9.95

159

OUR FIRST VIDEO

Dualstar Video WamerVision Entertainment 53304

Mary-KateA
Ashley Olsen

12.95

VIDEO HITS; VOLUME 1
Warrwr Reprise Video 3-3842S

Van Kalen

19.98

BLOOD BROTHERS

Columoia Music video Sony Music Video 50139

Bruce Spnngsteen A
The E Street Band

19.98

THE EVOLUTION TOUR; LIVE IN MIAMI
Epic Music Video Sony Music Video 50149

Gloria Estefan

19.98

THE BEATLES ANTHOLOGY

Capitol Video Turner Home Entertainment SS23

The Beatles

159.95

NO BULL; LIVE AT PLAZA DE TOROS, MEXICO
Etektia Entertainment 40192

AC7DC

19.95

PULSE

CoiumUa Music video Sony Music Video 50121

Rnk Ftoyd

24.98

THE ROLLING STONES ROCK A ROLL CIRCUS
ABKCO Video 38781 10033

Various Artists

24.98

LIVE FROM AUSTIN. TEXAS •

Epic Musk Video Sony Music Video 50130

Stevie Ray Vaughan
A Double Trouble

19.98

WOW- 1997

Sparrow Video Chordant Dtst. Group 1615

Various Artists

19.98

150

LIVE AT THE ACROPOLIS A*
Private Musk BMG Video 82163

Yanni

19.98

TEEN SPIRIT: THE TRIBLTTE TO KURT COBAIN
PolyGram Video 4400452653

Nirvana

19.95

BAD HAIR DAY

Scotti Bros. Video 5055

Weird Al Yankovic

9.98

117

THE BOB hlARLEY STORYA

Island Video PolyGram Video 4400823733

Bob Marley
And The Wftilcrs

9.95

GET SERIOUSl
MCA Musk Video 11557

Ray Stevens

19.98

MTV UNPLUGGED

MTV Musk Television Sony Music Video 19 V-S0148

Alice In Chains

19.98

A TRIBUTE TO STEVIE RAY VAUGHAN
EpK Musk Video Sony MusK VKleo 50144

Various Artists

19.95

VIDEO GREATEST HITS-HISTORY A'

EpK MusK Video Sony Music Video 50123

Michael Jackson

19.98

...THERE AND THEN

EpK Musk Video Sony MusK Video 50151

Oasts

19.98

101

THE COMPLEAT BEATLESA

MGMAIA Home Video Warner Home Video 700166

The Beatles

9.98

LIVE AT THE ISLE OF WIGHT. 1970
Rhino Home Video 72301

JImi Hendrix

19.98

THE HOME VIDEO

Getfen Home Video Uni Dist. Corp. 51787

Garbage

12.98

160

LIVE SHIT: BINGE A PURGEA**
Elektra Entertainment 5194

MetallKa

S9.98

LIVE AT MADISON SQUARE GARDEN A

Columbia Music Video Sony MusK Video 50134

Mariah Carey

19.98

111

HELL FREEZES OVER A^

Geffen Home Video Uni Oist. Corp. 39548

Eagles

24.98

GREATEST VIDEO HITS COLLECTION
6 West Home Video BMG Video 1573

Alan Jackson

14.38

CRANK IT UP

Warner Ftepnse Video 3-38460

Jeff Foxworthy

9.98

TICKET TO NEW YEAR’S
Monterey Home Video 31988

Grateful Dead

29.95

UNPLUGGED •

PolyGram Video 80063003825

Kiss

19.95

ROAD MOVIE

Warner Repnse Video 3-3B443

R.E.M.

19.98

109

LIVE! TONIGHT! SOLO OUT!! A
Geffen Home Video Uni Dist. Corp. 39541

Nirvana

24.98

RE-ENTRY

VIEUPHORIA •

Virgin MusK Video 77788

The Smashing
Pumpkins

19.98

THE VIDEO COaECTION; VOL. II
Capitol Video 77820

Garth Brooks

12.95

RE-ENTRY

X-TREME CLOSE-UP A
POtyGram Video 4400853953

Kiss

19.95

RE-ENTRY

RAINBOW BRIDGE (UNCUT)
Rhino Home Video 72248

Jimi Hendrix

19.95

RE-ENTRY

VIDEO LIBRARY •

Scott Bros. Video 75268-3

Weird Al Yankovic

14.98

RE-ENTRY

ZOO TV: LIVE FROM SYDNEY •
Island Video PolyGram Video 8006313733

19.95

O RIAA gold cert, for sales of 2&.000 units for video singles; • RIAA gold cert, for sales of 50,000 units for
SF or LF videos; A RIAA platinum cert, for sales of 50,000 units for video singles; A RIAA platinum cert,
for sales of 100,000 units for SF or LF videos; O RIAA goW cert, for 25,000 units for SF or LF videos certi-
fied prior to April 1. 1991; A RIAA platinum cert, for 50,000 units for SF or LF videos certified prior to
April 1, 1991. LF long-form. SF Short-form. VS Video single. 01997, BilltxMrdfBPI Communications.

‘EXTREME’ VIDEOS

(Continued from preceding page)
cassette featuring BMX bicycle rac-
ing. “We sold the dickens out of it,”
Goetz adds. His catalog also includes
“It’s Out Of Control”; the three-tape
series “Extreme Sports”; and “Fear
And Folly,” among many others.

Nevertheless, Goetz recognizes the
audience is growing. “We’ve got a
whole new generation of people com-
ing up that aren’t about sitting on the
couch and watching pro sports,” he
says. “They want to do participatory
things.”

And initiatives are under way at
several companies to help push the
concept even further.

“MTV Sports is becoming a bigger
franchise,” Beeman says. “MTV is
looking into developing some new
technology that would expand the
home-viewing experience, and it is
putting together some active lifestyle
gear and accessories under the MTV
Sports name.”

Cross-promotions are key, and
ESPN plans to keep them coming.
When it releases its second “X
Games” cassette this summer, the
title will be accompanied by a compli-
mentary CD from partner Tommy
Boy Records.

ESPN also is coming out with a line
of “X Games” sports apparel that will
be carried in msgor department-store
chains such as Sears Roebuck & Co.
and J.C. Penney beginning next fall,
Taymor says.

“The extreme-sports category is
much more than video,” she believes.
“It is a whole franchise, and one that
has been very successful for us.”

POLYGRAM VIDEO

(Continued from page 57)

mold. “Lord Of The Dance,” a flashier
production, will be treated much the
way Columbia promoted “Riverdance.”
The studio leaned heavily on live per-
formances at Radio City Music Hall in
New York just before St. Patrick’s Day.

This year, the U.S. release will coin-
cide with the March 5 premiere of the
show, also at Radio City. PolyGram has
the added advantage of touting the
“Riverdance” connection.

A “Lord Of The Dance” CD com-
panion soundtrack will be released on
PolyGram’s Philips Classics label day-
and-date with the video. Both are being
tagged in ads touting Flatley’s Radio
City appearances, where product will
be available for purchase.

In addition, one New York retailer
will be selected by PolyGram to run a
consumer contest awarding tickets to
the show and a chance to meet Flatley.

From New York, he moves on to lim-
ited engagements in Chicago, Philadel-
phia, Boston, and Minneapolis. The
tour ends April 13 in Philadelphia.

PolyGram has budgeted a combined
$500,000 for radio spots pitching tick-
et and merchandise give-aways, and
plans a television campaign in the top
10 markets. TV also figures in plans
for further exposure via a 46-minute
informercial, which features behind-
the-scenes footage and interviews. Air-
ings are scheduled to begin on or
around St. Patrick’s Day.

PBS is lending PolyGram a hand a
good deal sooner than it did Columbia,
which had to wait nine months for the
network to broadcast “Riverdance,”
which it did last December. By con-
trast, “Lord Of The Dance” will be
seen in most markets March 17, great-
ly reinforcing consumer recognition.

“People are going to know about
‘Lord Of The Dance’ a lot quicker,”
says Scamardo.

3illboord. February i, 1997

p Video Rentals

1 LAST WEEK |

1 WKS. ON CHART 1

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE RENTAL REPORTS.

TITLE (R H ) Principal

^ Distributing Label, Catalog Number Performers

★ ★ ★ No. 1 ★ ★ ♦

THE RfiTK fBi Hollywood PSdures Home Vrfeo SeanConnoy

intKUCMW Buena Vista Home Video 8887 Nicolas Cage

ATIMETOKILUR) Warner Home W«o 14317

TIN CUP (R) Warner Home Video 14318

CHAIN REACTION (PG.13) Fo.V,d« 0413085

THE ISLAND OF New Line Home Video Marion Brando

DR. MOREAU (PG-13) Turner Home Entertainment N4444 Vai Kilmer

TUC rABt C ri IV rm Columbia TriStar Home Vdeo Jim Carrey

THE CABLE GUV IRI Mallhew Brodendr

THE NUTTY PROFESSOR 0 1PG13I JJSoS'cto' Sa''*’*’ Eddie MurpOy

/OR Columbia TriStar Home Video Demi Moore

STRIPTEASE (R) Bert ReyrroMs

FARGO (Rl PdlyGram Video 8006386931 vmiSn h ‘^*7^

NEWb>

KINGPIN (PG-13) MGPAIUA Home Video 905769

ERASER (Rl Warner Home Video 14202

INDEPENDENCE DAY (PG-13) FoxVideo 4118

Fl£D(R) MGl,VUAHdmeVideo905763

THEFRIGHTENERS(R) SX'So™“

DRAGONHEART (PG-13) 8^126

PRIMAL FEAR (Rl Paramount Home Video 328323

MISSION: IMPOSSIBLE (PG-13) Paramount Home Video 31699-3 Tom Cruise

TUFTROW riTvnFaMrFiurBi Miramax Home Entertainment VincwilPerer

THE CROW. CITY OF ANGELS (R) ^

uxTiinA/nnT ColurrtM TriStar Home Video Danny DeVito

MATILDA (Pti) ggggj pBffman

DPAMViPin Miramax Home Entertainment UmaThurman

BEAUTIFUL GIRLS (Rl Buena Visa Home Video 8014 MettOilloo

THE ARRIVAL (PG-13) Live Home Video 60259 SifVIo^

uiri/>nucT/\Tucf\Aiiuniiec/Dv ColumlM TriStar Home Video ^ ...

WELCOME TO THE DOLLHOUSE (R) g2563 Heather Matarazzo

A FAMILV THING IPO-13) MGWUA Home Video 905535 RoOed^all

James cdn Jones

THE CRAFT (Rl ColumM TnStar Home Video ^ Balk

82413 Robin Tunney

TWISTER (PG-13) Warner Home Video 20100 BrO^J'

THE BIRDCAGE (R) MGMAIA Home Video M905536

Nathan Lane

TOY CTflRV in Disney Home Video Tom Hanks

lUTbfUKTtuj Buena Vrsta Home Video 6703 TimAJIen

ureuewc doicamfrc ^ ^ Baldwin

HEAVEN S PRISONERS (R) Turner Home Entertainment N4443 Mary Stiwt Masterscn

,-rrv rar i‘ 9 > Columbia TriStar Home Video Michael Keaton

MULTIPUCITY (PG.13) Andie MacDowell

THE YOUNG POISONERS ^ HughO’Conor

HANDBOOK (R) Cabin Fewer Entertainment CF2U Antony Sher

FFARC^ mt MCAAJnivefsai Home Video Reese Witherspoon

rcAK V w ^ g2823 Mark WaWberg

cpvuAQnrprni Hollywood Pictures Home Video Leslie Ni^sen

srrnwruiru-jjj Buena Vista Home Video 8289 AndyGnttiih

JOE’S APARTMENT (PG-13) Warner Home Video 14042 Jerry O’Connell

NEW^

CARPOOL(PG) Warner Home Video 14203

David Paymer

THE PHANTOM (TO) Paramount Home Video 328503

Knsty Swanson

D0N7 BE A MENACE TO SOUTH CENTRAL Miramax Home Entertainment Shawn wayans

DRINKING YOUR JUICE IN THE HOOD (R) Buena Vista Home Video 8099 Marlon Wayans

STEAUHG BEAUTY (R) FoxVideo 04 11 485 Sinead Cusaeii

Jeremy irons

NEW^

OF LOVE AND SHADOWS (R)

Buena Vista Home Video 8949 Jennifer Connelty

THE ADVENTURES OF New Line Home Video Martin Landau

PINOCCHIO (G) Turner Home Entertainment N4438 JoniOtin Tajlor Thonis

NEW^

TUC cnioirve rom New Line Home Video t « i..

THE STUPIDS (PGl Tuma. Home Entertaremenl N4435

4 ITA gold certification for a minimum of 125,000 units or a dollar volume of $9 million at retail
for ttieatrically released prt^ams, or of at least 25,000 units and $1 million at suggested retail for
nontheatrical titles. O ITA platinum certification for a minimum sale of 250,000 units or a dollar
volume of $18 million at retail for theatrically released programs, and <A at least, 50,000 units and
$2 million at suggested retail for nontheatrical titles. €> 1997, Billboard/BPI Communications.

BILLBOARD FEBRUARY 1. 1997

Copyrighted material

Home Video

MERCHANTS & MARKETING

1 996 Blockbuster Entertainment Awards Nominees Announced

■ BY EILEEN FITZPATRICK

LOS ANGELES — Nominees for the
third annual Blockbuster Entertain-
ment Awards have been announced
for 32 movie and music categories.

Consumers will be able to vote for
their favorites in 5,000 Blockbuster
video and music stores in the U.S. and
Canada and at the chain’s Internet
site. Voting will also take place in
Planet Hollywood restaurants. Last
year more than 10 million ballots
were cast.

The winners will be announced on
a star-studded show broadcast on the
UPN. network from the Pantages
Theater in Hollywood, Calif., March
11. Following is a list of the nomi-
nees:

THEATRICAL

Favorite male, action/adventure:
Nicolas Cage, “The Rock”; Tom
Cruise, “Mission: Impossible”; Bill
Paxton, “Twister.”

Favorite female, action/adven-
ture; Geena Davis, “The Long Kiss
Goodnight”; Helen Hunt, “Twister”;
Vanessa Williams, “Eraser.”

Favorite male, science fiction:
Will Smith, “Independence Day”;
Patrick Stewart, “Star Trek: First
Contact”; Bruce Willis, “12 Mon-
keys.”

Favorite male, adventure/drama:
Kurt Russell, “Executive Decision”;

Sylvester Stallone, “Daylight”; Den-
zel Washington, “Courage Under
Fire.”

Favorite female, adventure/
drama: Halle Berry, “Executive Deci-
sion”; Juliette Lewis, “From Dusk
Till Dawn”; Meg Ryan, “Courage
Under Fire.”

Favorite male, comedy: Eddie
Murphy, “The Nutty Professor”; Jack
Nicholson, “Mars Attacks!”; Robin
Williams, “The Birdcage.”

Favorite female, comedy: Goldie
Hawn, “The First Wives Club”; Diane
Keaton, “The First Wives Club”;
Bette Midler, “The First Wives Club.”
Favorite male, comedy: George
Clooney, “One Fine Day”; Tom
Cruise, “Jerry Maguire"; Denzel
Washington, “The Preacher’s Wife.”
Favorite female, comedy: Whit-
ney Houston, “The Preacher’s Wife”;
Michelle Pfeiffer, “One Fine Day”;
Barbra Streisand, "The Mirror Has
Two Faces.”

Favorite male, drama: Richard
Dreyfu.ss, “Mr. Holland’s Opus”; Bi’ad
Pitt, “Sleepers”; John Travolta, “Phe-
nomenon.”

Favorite female, drama: Shirley
MacLaine, “The Evening Star”;
Susan Sarandon, “Dead Man Walk-
ing”; Kyi*a Sedg\vdck, “Phenomenon.”
Favorite male, romance: Leonar-
do DiCaprio, “Romeo + Juliet”;
Ralph Fiennes, “The English
Patient”; Robert Redford, “Up Close

Buena Vista Campaign
To Spur U.K. Sell-Through

■ BY PETER DEAN

LONDON — Buena Vista Home
Entertainment has pledged its com-
mitment to developing sell-through
into a year-round business in the
U.K. with the announcement of a
generic advertising campaign this
spring.

The program gets under way with
what the Disney unit bills as its
“most extensive first-quarter lineup
yet.” It’s also meant to help the
industry achieve 10% growth. In the
first quarter of 1996, a total of 12.7
million cassettes were sold. The tar-
get for 1997 is 14 million.

Buena Vista’s flagship title will be
“The Hunchback Of Notre Dame,”
which is to be released five weeks
before Easter. That should be enough
time to correct a problem that hurt
sales last year of “Pocahontas.” The
title shipped two weeks prior to the
holiday, and didn’t make its goals.

This time around, Buena Vista has
developed a multimedia approach
that will try to position “Hunchback”
as a classic along the lines of
“Bambi,” released in 1996 with the
animated “101 Dalmatians.” A three-
part phased campaign starts early in
February; a second major burst of
activity commences near the launch
date, Feb. 24, with a final push in
mid-March to attract Easter gift
givers.

According to consumer research,
70% of those who saw “Hunchback” in
theaters said they would buy the video.

To help ensure those results,

Buena Vista has set up a major two-
month promotion with Nestis, which
will promote “Hunchback” on 65 mil-
lion confectionery packs and in more
than 800 Esso Snack and Shops. The
campaign will cost $1.5 million.

Meanwhile, the studio has just
released the final part of the Aladdin
trilogy, “Aladdin And The King Of
Thieves,” in which Robin Williams
reprises his role as the Genie. And
two segments of “The Lion King”
spinoff, “Timon And Pumbaa,” will
be in stores by Feb. 25, along with
“The Many Adventures Of Winnie
The Pooh.”

Sell-through movies include
“Father Of The Bride II” and “Dan-
gerous Minds,” backed by aTepeat of
a successful summer catalog promo-
tion, including “Ready To Wear” and
“Muriel’s Wedding” at $9. Purchase
of either of the latter and another
title drops the price of each to $6.

Not everyone is happy with Buena
Vista’s strategy. Its staggered
release of animated classics was
labeled “cynical” during a consumer
affairs television program, BBC’s
“Watchdog,” which criticized the idea
of withdrawing features from retail
until pent-up demand is judged suf-
ficient for a subsequent release.

During the show, Buena Vista
marketing director James Thickett
expressed his own desire to buy a
copy of “The Little Mermaid” for his
3-year-oid daughter, but claimed that
he couldn’t get hold of one. Asked if
he was happy with the scenario, he
replied, “It’s the way it is.”

& Personal.”

Favorite female, romance: Claire
Danes, “Romeo -H Juliet”; Gwyneth
Platrow, “Emma”; Michelle Pfeiffer,
“Up Close & Personal.”

Favorite male, suspense: Richard
Gere, “Primal Fear”; Mel Gibson,
“Ransom”; Matthew McConaughey,
“A Time To Kill.”

Favorite female, suspense: San-
dra Bullock, “A Time To Kill”; Laura
Linney, “Primal Fear”; Rene Russo,
“Ransom.”

Family favorite: Glenn Close, “101
Dalmatians”; Michael Jordan, “Space
Jam”; Arnold Schwarzenegger, “Jin-
gle All The Way.”

MUSIC

Favorite female, pop: Toni Brax-
ton, “Secrets”; Celine Dion, “Falling
Into You”; Gloria Estefan, “Destiny.”

Favorite male, pop: Kenny G,
“The Moment”; George Michael,
“Older”; Sting, “Mercury Falling.”

Favorite group, classic rock: The
Beatles, “Anthologj^ 2” and “Antholo-

gy 3”; Van Halen, “Best Of Volume 1”;
Journey, "Trial By Fire.”

' Favorite male, classic rock: Bryan
Adams, “18 Till I Die”; John Mellen-
camp, “Mr. Happy Go Lucky”; Tom
Petty, “She’s The One.”

Favorite duo or group: Brooks &
Dunn, “Borderline”; Richocet,
“Richocet”; Diamond Rio, “IV”
Favorite male, country: Clint
Black, “Greatest Hits”; Alan Jackson,
“Everything I Love”; George Strait,
“Blue Clear Sky.”

Favorite female, country: Reba
McEntire, “What If It’s You”; Mindy
McCready, “Ten Thousand Angels”;
Wynonna, “Revelations.”

Favorite male, K&B: Snoop Doggy
Dogg, “Tha Doggfather”; 2Pac, “All
Eyez On Me”; Keith Sweat, “Keith
Sweat.”

Favorite female, R&B: Aaliyah,
“One In A Million”; Natalie Cole,
“Stardust”; Whitney Houston, “The
Preacher’s Wife.”

Favorite R&B group: BLACK-
street, “Another Level”; New Edition,

“Home Again”; OutKast, “Athens.”
Favorite female, modern rock:
Tori Amos, “Boys Of Pele”; Tracy
Bonham, “The Burdens Of Being
Upright”; Sheryl Crow, “Sheryl
Crow.”

Favorite group, modern rock:
Hootie & the Blowfish, “Fairweather
Johnson”; Cranberries, “To The
Faithful Departed”; Dave Matthews
Band, “Crash.”

Favorite song from a movie: Eric
Clapton, “Change The World”; Celine
Dion, "Because You Loved Me”; Bar-
bra Streisand and Bryan Adams, “I
Finally Found Someone.”

Favorite male, new artist: D’An-
gelo, “Brown Sugar”; Nas, “It Was
Written”; Tony Rich Project,
“Words.”

Favorite female, new artist:
Deana Carter, “Did I Shave My Legs
For This?”; Jewel, “Pieces Of You”;
LeAnn Rimes, “Blue.”

Favorite group, new artist:
Fugees, “The Score”; No Doubt,
“Tragic Kingdom”; 311, “311.”

jillbcxand. February i, 1997

Top Special Interest Video Sales

Compiled from a national sample of retail

stores sales reports.

stores sates reports.

1 WKS. ON
1 CHART

"S •

S S

TITLE

Program Supplier, Catalog Number

V>-l

1 WKS. (
1 CHARI

TITLE

Program Supplier, Catalog Number

a .S
Vi-t

RECREATIONAL SPORTS .

★ ★ NO. 1 * ★
THE 1996 WORLD SERIES VIDEO
Orion Home Video 91096

19.9S

MICHAEL JORDAN: ABOVE & BEYOND

FoxVideo (CBS/Fox) 8360

14.98

Orion Home Video 96002

14.98

187

MICHAEL JORDAN: AIR TIME

FoxVideo (CBS/Fox) 5770

19.98

356

MICHAEL JORDAN: COME FLY WITH ME^

FoxVideo (CBS/Fox) 2173

19.98

PINSTRIPE DESTINY

Oriem Home Video 96012

19.98

THE OFFICIAL 1996 NBA FINALS VIDEO .

FoxVideo (CBS/Fox) 8345

19.98

RE-ENTRY

NFL: 100 GREATEST FOLLIES

PolyGram Video 8006326733

19,95

RE-EHIITV

SUPER SLUGGERS
Orion Home Video 96001

14.98

DREAM TEAM 1996 GOES FOR THE GOLD
FoxVideo (CBS/Fox) 8343

14.98

263

MICHAEL JORDAN'S PLAYGROUND

FoxVideo (CBS/Fox) 2858

19.98

DALLAS COWBOYS: SUPER BOWL )0(X CHAMPIONS
PolyGram Video $006353633

19.95

MICHAEL JORDAN: THE ULTIMATE COLLECTION

FoxVideo (CBS/Fox) 4101090

29.98

75 SEASONS: 75 TH ANNIVERSARY OF THE NFL^
PolyGram Video 8006319053

19.95

RE-ENTRY

NBA JAM SESSION

FoxVideo (CBS/Fox) 5559

14.98

100 GREATEST NFL TOUCHDOWNS

PolyGram Video 4400876793

14.95

GRANT HILL: NBA SENSATION

FoxVideo (CBS/Fox) 8325

14.98

415

DORF GOES FISHINGO

Victory

19.95

MIKE TYSON: THE INSIDE STORY
MPi Home Video 7074

19.98

RE-DORY

ICE HOT

FoxVideo (CBS/Fox) 8426

14.98

HEALTH AND FITNESS

★ ★ NO. 1 ★ ★
THE FIRM: TIME CRUNCH WORKOUT
BMG Video 80113-3

19.98

THE FIRM: NOT-SO-TOUGH AEROBICS

8MG Video 80122

14,98

THE FIRM: COMPLETE AEROBIC WEIGHT TRAINING
BMG Video 80115-3

19.98

THE FIRM: ABS, HIPS & THIGHS SCULPTING

BMG Video 80114-3

19.98

THE GRIND WORKOUT: FITNESS WITH FLAVA4
Sony Music Video 49796

12.98

CRUNCH: FAT BLASTER PLUS

Anchor Bay Entertainment SV10092

9,98

THE FIRM: LOWER BODY SCULPTING

BMG Video 80120

14.98

THE GRIND WORKOUT HIP HOP AEROBICS

Sony Music Video 49659

12.98

THE FIRM: TOUGH AEROBIC MIX-FIRM PARTS

BMG Video 80117-3

1998

RE-DfIRV

THE FIRM: BODY SCULPTING BASICS
BMG Video 80110-3

18.98

THE GRIND WORKOUT: STRENGTH AND FITNESS
Sony Music Video 49805

12.98

CRUNCH: FAT BLASTERS

Anchor Bay Entertainment SV10025

9.98

CLAUDIA SCHIFFER: PERFECTLY FIT ABS

FoxVideo (CBS/Fox) 8240

14.98

141

YOGA JOURNAL'S YOGA PRAaiCE FOR BEGINNERS
Healing Arts 1088

1498

NEW^

CRUNCH: BEST ABS AND ARMS

Anchor Bay Entertainment SV1(X)93

9.98

RE-OfTRY

CRUNCH: WASHBOARD ABS

Anchor Bay Entertainment SV10026

9.99

RE-EKTRY

CRUNCH: TURBO SCULPT

Anchor Bay Entertainment

9.98

THE FIRM: AEROBIC INTERVAL TRAINING

BMG Video 80112-3

1998

DENISE AUSTIN: FAT BURNING BLAST
Parade Video 1933

12.99

RE-ENTRY

CRUNCH: CARDIO GROOVE

Anchor Bay Entertainment SV10094

9.98

^ITA gold certification for sale of 125,000 units or a dollar volume of $9 million at retail for theatrically released programs. 25.000 units and $1 million at sug-
gested retail for nontheatrical titles. OlTA platinum certification for sale of 250.000 units or a dollar volume of $18 million at retail for theatrically released pro-
grams. or 50,000 units or $2 million at suggested retail for nontheatrical titles. ^1997, Billboard/BPI Communications.

BILLBOARD FEBRUARY 1, 1997

Copyrighted material

Update

CALENDAR

A weekly listing of trade shows, con-
veniions, award shows, seminars,
and other events. Send ntfornudion
to Calendar, Billboard, 1515 Broad-
way, New York, NY. 10036.

JANUARY

Jan. 25, “How To Got A Rocont Deal From A
ToZ,” New tbrker Hotel, Newfcrk. 212-688-3504.

Jan. 28. Touchstone Awards Luncheon, spon-
sored by Women in Music, Maniott Marquis, New
m. 212-459-4580.

FEBRUARY

Feb. 1. “Songs 4 U,“ showcase/panel pre-
sented by the Nabonal Academy of Songwriters,
Broadway Cafe, Hollywood. Fla. 305-944-3268.

Feb. 3-6, ComNet Conference And Exposition,
various locations, Washington, O.C. 800-545-EXP0.

Feb. 7. Deadline for submission for the 1997
Audie Awards, sponsored by the Audio Publishers
Assn. 310-372-0546.

Feb. 7-9, “Building A Songwriting Career,'
presented by the Songwriters Guild, Union Stabon
Hotel, Nashville. 615-329-1782.

Feb. 8, 28th Annual Image Awards, Pasade-
na Civic Center, Pasadena, Calif. 213-938-2364.

Feb. 9-12, MILIA, multimedia publishing mar-
ket. Palais des Festivale, Cannes. 212-689-4220.

Feb. 18, An Evening With Glen Ballard And
David Foster, sponsored by the California Copy-
right Conference, Sportsmen's Lodge, Studio City,
Calif. 818-848-6783.

Feb. 22-26, National Assn. For Campus
Activitios Convontion, Pennsylvania Convenhon
Center/Philadelphia Marriott, Philadelphia. 803-
732-6222.

Feb. 24, Brit Awards, Ead's Court, London. 44-
171-287-4422.

Feb. 24, A Tribute-Roast Honoring Stan
Goman, hosted by the American Jewish Commit-
tee’s Music-Video division. Copacabana, New York.
212-751-4000, extension 338.

Feb. 24. MusiCares Person Of The Year Din-

ner, Concert And Silent Auction Honoring Phil
Collins, Waldorf-Astoria, New York. 310-392-
3777.

Feb. 25. Fourth Annual Patrick Lippert
Awards, honoring Sheryl Crow. LL Cool J, and
Steve Young, among others, to benefit Rock the
Vote. Roxy, New ibrk. 212-621-6027.

Feb. 26. Grammy Awards. Madison Square
Garden, New York. 310-392-3777,

MARCH

March 5-8, Country Radio Seminar, Opryland
Hotel. Nashville. 615-327-4487.

March 6. Echo Awards, Congress Center, Ham-
burg. 49-40-581935.

March 7-9, International Live Music Confer-
ence, Inter-Conhnental Hotel. London. 44-171-
405-4001.

March 8. “How To Start A Grow Your Own
Record Label,' Holiday Inn, Brookline, Mass.
508-526-7983.

March 8-11, National Assn. Of Recording
Merchandisers Annual Convention, Marriott
Hotel. Ortando, Fla. 609-596-2221.

March 9. “Promoting & Marketing Music
Toward The Year 2000,' Holiday Inn, Brookline.
Mass. 508-526-7983.

March 13-15, Replitacb Europe, Montjuic 2.
Barcelona, Spain. 914-328-9157.

March 14. Deadline for entries in the 1997
International Print & Radio Advertising competi-
tion. presented by the New York Festivals. 914-
238-4481.

March 14-15, Board Aid 4, to benefit LifeBEAT,
Bear Mountain Ski Resort, Big Bear, Calif. 619-
722-7777.

March 22. “How To Start A Run Your Own
Record Label,' New Yorker Hotel, New York. 212-
688-3504.

March 22-25, Audio Engineering Society Con-
vention, MOC Center, Munich. 212-661-8528.

March 22-26, Winter Music Conference,
Fontainebleau Hilton Resort A Towers, Miami. 954-
563-4444.

Swing's The Thing. Atlantic Records co-chairman/co-CEO Ahmet Ertegun, left,
gets a tie adjustment from Columbia Rerxrrds artist Wynton Marsalis at a recent
beneht concert at New York's Lincoln Center. The gala, dubbed In the Spirit of
Swing, was hosted by “60 Minutes' correspondent Ed Bradley and featured'per-
formances by Natalie Cole. Savion Glover, and Ruth Brown. The event raised
money for the Jazz at Lincoln Center series, of which Marsalis is artistic director.
Jazz at Lincoln Center runs year-round events, including concerts, lectures,
films, recordings, radio broadcasts, performance tours, and education programs
for adults and children.

LIFELINES

BIRTHS

Girl, Holly Patrice, to Kevin and Lisa
Cronin, Dec. 20 in Los Angeles. Father
is the lead singer of REO Speedwagon.

Boy, Jesse Jaron Wild, to Paul Sander*
son and Cassandra Phillips, Dec. 23 in
Toronto. Father heads the entertain-
ment law firm of Paul Sanderson &
Associates.

Girl, Bella, to Todd and Kelly Roper,
Jan. 11 in Berkeley, Calif. Father is
drummer for Capricorn Records band
Cake.

MARRIAGES

Pc^Sy Dold to Patrick Brooks, Dec.

26 in Negrill, Jamaica. Bride is VP of
A&R for Valley Entertainment in Santa
Fe,N.M.

Popa Chubby to DM Galea, Dec. 27 in
Brooklyn, N.Y. Groom is a blues/rock
guitarist on Prime CD.

Candice Agree to Stephen Battaglio,
Jan. 18 in New Orleans. Bride is a radio
personality on SW Networks and
WQXR New York. Groom is The HoUy-
^^ijod Reporter’s New Yorit bureau chief

DEATHS

Norman Stollman, 57, of cancer, Dec.
8 in Boca Raton, Fla. From 1970 to
1986, Stollman, a lawyer, worked in

GOOD WORKS

bOUNTRY ACTS HELP KIDS: Top
names in country music and staffers
from more than 100 country radio sta-
tions have kicked off this year’s Coun-
try Cares for St Jude Kids radiothons
on behalf of the St. Jude Children’s
Research Hospital, founded by
actor/comedian Danny Thomas. Since
the Country Cares campaign began in
1989, more than 150 m^or-market sta-
tions have raised more than $50 million
in pledges. Among the artists who will
participate in this year’s drive, which
started with performances by the
artists Jan. 17 and 18 at the Memphis-
based hospital, are Aaron Tipptn,
Bryan White, Kenny Chesney,
Deana Carter, Randy Owen, Garth
Brooks, Faith Hill, Alan Jackson,
Mary Chapin Carpenter, and Reba
McEntire. The St. Jude Children’s
Research Hospital is a biomedical
research center dedicated to finding
cures for the catastrophic diseases of
children. AH St. Jude patients are
treated regardless of their ability to
pay. Its work is primarily supported
through public funds raised by the
American Lebanese Syrian Associat-
ed Charities, which covers all costs
beyond those reimbursed by third-
party insurers, and total costs when no
insurance is available. Contact: Melis-
sa Vadman at 312-751-8878 or Echelle
Lane at 901-524-0338.

FUND FIGHTS SARCOMA: The
Kristen Ann Carr Fund will host its
fourth annual Winter Semi-Formal
Feb. 8 at the Supper Club in New York.
Sponsors for this year’s eyent, de-
signed to raise funds to fight sarcoma,
include Bruce Springsteen; Patti
Scialfa; Sting; Sting’s wife, Trudie
Sumner; Bob Costas; and Tabitha
and Stephen King. The fund was
established by Barbara Carr and
David Marsh when their daughter
Kristen Ann Carr died of sarcoma,
the form of cancer that most often
attacks children and young adults. Pro-
ceeds raised by the fund have estab-
lished a sarcoma patients support
group. The fund also sponsors visits to
patients by celebrity guests. Tickets
are $75. A raffle will gi\^ away such
prizes as a Cartier 21 watch and two
round-trip airline tickets. For more
info about donations, contact the Kris-
ten Ann Carr Fund, e/o Memorial
Sloan-Kettering Cancer Center, 1275
York Ave., New York, N.Y. 10021, or
contact Julia McCormick at 212-639-
3520 or Marilyn Lavertv or Seth
Cohen at 718-622-7242.

Velez to mr. Holland

BOARD: SESAC president/COO Bill
Velez has been appointed to the board
of Mr. Holland’s Opus Foundation, an
organization recently launched by film

composer Michael Kamen to provide
funds for the teaching of music in the
schools (Billboard, Jan. 11). “I love
working toward making music educa-
tion an entitlement for all children,”
says Velez. Contact: Ciystal Caviness
at 615-320-0055.

Group honors five women:

Women in Music Inc. will host its first
Touchstone Awards luncheon at the
Marriott Marquis in New York on
Tuesday (28) to honor five women “who
make a difference” within the music
industry. They are Jocelyn Cooper-
Gilstrap, senior VP/special assistant to
the chairman of Universal Music
Entertainment Group and president
and owner of Midnight Songs, a pub-
lishing company; Ethel Gabriel, cred-
ited with being the first A&R record
producer, and president of JazzMania
Records; Ina Meibach. entertainment
attorney; Karen Sherry, VP/director
of communications at ASCAP; and
Valerie Simpson, of the songwriting
duo Ashford & Simpson, a producer
and on-air host on WRKS New York.
Women in Music Inc. is a not-for-prof-
it group that provides educational
forums, networking opportunities,
musical showcases, and other means to
help further development among indus-
try professionals. Tickets for the lun-
cheon are $110; call 212-459-4580.

various legal and business affairs posts
at CBS Records and CBS Records
International. He was senior director
of CBS Records U.K. and senior VP of
CBS Records International in New
York. In 1985, he entered private prac-
tice and limited his consulting to music
industry clients. Stollman, a 1963 New
York Law School graduate, was
regarded as an authority on the legal
representation of the Spanish Authors
Society; Spanish TV networks; and
Hispanic l^ls, music publishers, and
artists. In 1990, Stollman relocated his
practice to Boca Raton, where he
established the law firm of Stollman &
Stollman with his son Marc. In addi-
tion to that son, he is survived by his
wife, Mona; two other children, Neil
and Andrew; two daughters-in-law,
Laurie and Lisa; and two grandchil-
dren, Rachel and Bepjamin.

Joe Lopes, 58, of a heart attack, Jan. 2
in New York. Lopes was a studio engi-
neer at R(^ and BMG Studios in New
York and an independent producer,
joining RCIA Records in 19W, moving
soon after to the label’s recording stu-
dios. Working with producer Warren
Shatz in the ’70s, he engineered hits by
Evelyn “Champagne” King and Vicki
Sue Robinson’s Grammy-nominated
“Turn The Beat Around.” He also
worked on the successful Hampton
String Quartet album, “What If
Mozart Wrote ‘Have Yourself A Merry
Little Christmas’ ” and the original
cast album of “Sophisticated Ladies.”
In the ’80s, Lopes worked with jazz
producer John Snyder on albums by
Me! Lewis, Sun Ra, and C^cil Taylor,
among others. In 1990, he formed Hip-
shake Productions with producer/engi-
neer Jay Newland. They produced a
Buddy ^ott album for PolyGram ^d
then released an album by the Sandra
Wright Band on Hipshake Records.
Lopes is survived by his wife, Juliana,
executive assistant to Wanda Horowitz,
widow of pianist Vladimir Horowitz;
daughter Lorena, who is an attorney
with Sony Music Entertainment; and
son Chris, a VP of promotion at Mer-
cury Records. A requiem service for
Lopes w’as held Jan. 7 at Holy Trinity
R.C. Church in New York.

George Handy, 76, of heart disease.

Jan. 8 in Harris, N.Y. He w'aa a jazz ar-
ranger/pianist/composer who worked
with some of the top bandleaders of the
swing era, including Benny Goodman,
Artie Shaw, Stan Kenton, and the
Dorsey brothers. In the ’50s, he collab-
orated on a set of noted albums with
saxophone player Zoot Sims. As a com-
poser, Handy wrote for Paramount Stu-
dios, the Armed Forces Radio Service,
and the New York Saxophone Quartet,
He is survived by his wife, Elaine
Lewis, and three children.

Keith Diamond, 46, of a heart attack,
Jan. 18 in New York. A songwriter and
producer. Diamond co-wrote two of
Billy Ocean’s popular mid-’80s songs,
“Suddenly” and the breakthrough hit
“Caribbe^ Queen.” Diamond produced
or co-wrote material for a divei^ group
of artists, including James Ingram,
Michael Bolton, Donna Summer, Anne
Murray, Mick Jagger, Sheena Elaston,
Freddie Jackson, and Melba Moore. In
1989, the Keith Diamond Cultural Cen-
ter was opened in his native Trinidad.
He owned a production company and
studio in New York called Rougheuts.
He is survived by his mother, two sis-
ters, and two brothers.

Paul Kresh, 77, reportedly of I^kin-
son’s disease, Jan. 12 in New York.
Among his many endeavors, Kresh
produced for the Spoken Arts and
Caedmon labels in the ’60s and early
’70s. He focused on recording poets
reading their own w'orks, including
Robert Frost, Allen Ginsberg, e.e. cum-
mings, and Gertrude Stein. More
recently, he produced a number of titles
for spoken audio company Listening
Library. Kresh was a broadcaster and
author who reviewed music for a range
of publications and wTote a number of
books and documentary films.

FOR THE RECORD

Jeff Gaspin, senior VP of pro-
gramming and production for >^1,
was misidentified in a story on the
new VHl series “Hard Rock Live
Presented By Pontiac Sunfire” that
appeared in the Jan. 25 issue. Also,
the show’s talent booker, Jim Pitt,
retains his role as talent booker for
“Late Night With Conan O’Brien.”

BILLBOARD FEBRUARY 1. 1997

Re\/iews Reviews

^ TONY BENNEH

Tony Bennett On Holiday: A Tribute To Billie Holiday

PRODUCERS; Tony Bennett, Danny Bennett
Columbia 67774

On his latest effort, the beloved crooner
salutes the late Billie Holiday \s*ith an
album of songs associated uith her. As
such, the album is an expansion of Ben-
nett’s previous effort, the late-’95 release
“Here’s Tb The 1,/adies,” which honored
Holiday, Doris Day, Ella Fitzgerald. Lena
Horne, and Barbra Streisand. Highlighted
by such spirited entries as “All Of Me” and
“Me, M.v'self And I (Are All In Love With
You),” the album consists mostly of materi-
al never before recorded by Bennett, with
the exception of “These Foolish Things
(Remind Me Of You)” and “Solitude.”
which he cut in the late ’50s and early ’60s.
respectively. Another previously recorded
Bennett track Ls “God Bless The Child.”
only this time it appears in a Phil Ramone-
produced posthumous duet with Holiday.
Like all of Bennett’s recent releases, this
is one that his legions will find irresistible.

SPACE NEEDLE

The Moray Eels Eat The Space Needle
PRODUCERS; A. U$us. J. Cox. Space NeMie
Zero Hour 2080

The sophomore disc from the Long Island,
N.Y. -based trio skirts a fine line between
avant-garde and progressive rock. Fuzz
•guitar ^ la early ^nic Youth is the base
metal here, the layers of distortion nearly
smothering the droning bass pulses. FVee-
form solos empty into knots of noise:
splashes of c^mibal add color to the music's
lo-fi sensibilities. Original cover art by
Roger Dean of Yes fame is also included
but, alas, not in triple-gatefold form.

z z

★ STEVE UCY TRIO
bye-ya

PRODUCER: Jean-P»gl Rodfiguez
Free LarKe 25

Veteran soprano sa.\ innovator Steve
Lacy marks the end of his 25-year
expatriate stay in Paris — as indicated
by the title — with this fine avant-
garde trio set. Lacy’s engaging, intro-
spective soloing colors the set’s atmos-
phere, along with such enjoyably
cubist, Ornette-reminiscent original
compositions as “Bookioni,” “The
Bath,” and “Absence,” the last of
which features the art-song vocals of
Irene Aebi. Bassist Jean-Jacques
Avenel switches to kora on his sweetly
glistening “Pi-Pande,” and the moods
of Monk are revisited on the fine title
track and Lacy’s whirling frenzy on
“Trinkle Tinkle.”

HILTCN RUIZ
Island Eyes

PRODUCERS: jKk Hooke, Eddie Rodriguez
Tropi)az 2 82042

The latest set from Hilton Ruiz is a
strong, divei*se album that finds the lead-
ing Latin jazz pianist backed by such ace
sidemen as saxophonist John Stubble-
field and bassist John Benitez, with
notable guest stars Tito Puente, Jon Fad-
dis. and Dave Valentin. Ruiz’s keyboard

SPOTLIGHT

VARIOUS ARTISTS

Original Soundtrack: Mandela— Son Of Africa,
Father Of A Nation
PRODUCERS: various
Mango 524 305

The soundtrack for a Mai*ch-slated doc-
umentai'y on South Afiican president
Nelson Mandela, this collection doubles
as a com|>endium of music from that
troubled and culturally rich country'.
FVom the uplifting title anthem “Father
Of Our Nation” by Jennifer Jones and
Hugh Masekela to the African Jazz Pio-
neers’ “Sip N’ Fly,” from the All African
Jazz 0|)era’s “King Kong” track “In The
Queue” to a 1954 field rccoi*ding, the set
is a rich tapestr>' of sounds s))anning
half a century’ and a rainbow of miudcal
styles. The disc also includes beautifully
integralevl score snippets by (Cedric
Gradus Samson and the Si)eciais’ 19H4
rally'ing cry’ “Nelson Mandela” — ^which
Ls lyrically obsolete but still powerful
and jubil^L A succinct document of
South Africa’s musical heritage, fit for
music fans and scholars alike.

brilliance is glowingly showcased on such
tracks as the sharp, infectiously swinging
“Unit Seven” and a deliciously e.xotic
Latin makeover of “Body And Soul.”
Excellent original Ruiz themes include
the bouncy, breezy title track, the vv’ildly
progressive, avant-Latin “Solar Orbit,”
and the W’istfully soulful “The Girl’s In
Love." P'brthering this album's pervasive
soul influence are a bluesy, R&B-tinge<l
remake of old jazz tune “(ree Baby Ain’t I
Good To You” and a straight-but-f^unky
cover of the Ben E. King hit “Stand Bv
Me.”

SPOTLIGHT

SOLOMON BURKE
The Definition Of Soul
PRODUCERS: Selassie Burke. Solomon Burke
Pointblank 42557

Veteran soul man and preacher
Solomon Burke, who scored a string of
|K>p and R&B hits in the ’60s and early
'70s (“Just Out Of Reach (Of My TXvo
Oi^n Arms],” “Got To Get You Off My
Mind”), returns to form with this
delightful album, his first for Virgin’s
blues label. Despite overly polished
production that threatens to undermine
the grit in his sound, Burke’s top-notch
songw’riling (in collaboration with his
son Selassie), husky tenor, and all-
around charm take center stage. High-
lights include “Why Can’t We Come
Together,” the sparse “Just For You,”
the suri)risingly subdued but entertain-
ing Little Richard duet “Everybody’s
Got A Game,” and the searing “Your
Time Tb Cry” (co-produced by Jerry’
We.xler). An active preacher and musi-
cal {)erformer, Burke ]>roves that he
can still do it after all these years.

LATIN

★ ATERCIOPELADOS
La Pipa De La Paz
PRODUCER; Phit M»fl/ancra
Arioi«V6MG 44347

Delightfully quirky lead singer Andrea
Echeverri, who is by far the best female
singer in Latino rock world, returns with
her talented backing crew for another
slamming romp through wryly humorous
musings of male/female situations, traips-
ing dow’n the Amazon, and love of country.
While 1 5-song set does not bulge with

SPOTLIGHT

JAMIROQUAI
Travelling Without Moving
PRODUCERS: Jay Kay. A1 Slone
Work 67903

An ironically appropriate title for the
third offering by U.K. retro funk outfit,
as the group continues to demonstrate
an uncanny ability to stay frozen in
time yet still hre^ musical ground.
Root^ in a sound that l>ears an uncan-
ny resemblance to Stevie Wonder circa
1976 (the group sounds more like \in-
tage Wonder than the artist himself
does today). Jamiroquai is also at the
vanguard of the analog symthesizer
movement, along witli the likes of Beck
and Luscious Jackson. The album’s
highlights include the Philly-grooved
“Cosmic Girl,” the upbeat “Alright," the
reggae-flavored “Drifting Along,” the
dusco-inspired title track, and the horn-
spiked “High Times.” A double-platr
inum album in tlie U.K., “T^-avelling
Without Moving” apj)ears for the first
time stateside. Worthy of consideration
at pop, R&B, and college outlets.

radio-style hits, Echeverri’s defiant odes
to i)ersonal independence, “No Necesito”
and “Nada Que Ver,” could click at radio.

WORLD MUSIC

★ TARIKA
Son Egal

PRODUCERS; Simon Emmer&on, Martin Russell
Xenophite/Green Unrtet 4042
The sophomore release from Madagas-
car’s Tarika is an outstanding, rhythm-
intensive collection that matches the
heights it scaled in its original incarnation

VARIOUS ARTISTS

Jazz The World Forgot Volumes 1 & 2

REISSUE PRODUCERS: Sherwin Ounner & Richard
Nevirts

Yazoo/Shanachle 2024/2025
Subtitled “Early Roots And Branches
Of Jazz.” this separately available, two-
volume. 46-ti’ack comi>eiulium of jazz
recordings from amounts to a

swinging Prohibition-era hit parade.
With knowledgeable liner notes that
trace the regional and stylistic origins
of each cut. (his set features such cias.sie
tunes a.s "SomelMKly’ Stole My Ga!” and
“Everybody Loves My Baby;” and such
influential en.scmbles as Jelly Roll Mor-
ton’s Red Hot Pep|xu*s, King Oliver’s
Jazz Band, and Bennie Moten’s Kansas
City Orchestra. But most featured
gi'ou|)s (of both black and white musi-

VITAL REISSUES*

eians) are less-remembered acts such as
Five Hot Chocolates, Gowan’s Rhaj)-
sody Makers, and hVenchy’s String
Bund, as well as old-time blues lyelters
Mamie Smith and Edna Winston. These
U’acks were r<?mastered from the origi-
nal 78s, so listeners shouldn’t l>e sur-
prised at understandable levels of sur-
face noise. Even with highly variable
fidelity; historically minded listeners
should be entranced by the f[uavcring
melody lines of Sam Moi’gan’s Jazz
Band on remade hymn “Over In The
Gloryland.” the extraordinarily accent-
ed tem|)os of the Ross De Luxe Synco-
|)aters' “Florida Rhythm,” the kamikaze
claiinet of Vance Dixon (bucked by his
twTj-piece Jazz Maniacs) on “Crazy
Quilt," and Clarence Williams’ Blue
Five melotly “Wild Cat Blues.” which

features soprano .saxophonist Sidney
Bechet.

TOWNES VAN ZANDT
Rear Vievr Mirror
PRODUCER: Townes Van Zandl
Sugar HIII1054

This live, Iwst-of album — briefly
ndeasL^d in — ^wa.s in the works for

reissue l>efore the Jan. 1 death of the
laU% great troubadour (Sugai' Hill plans
a mi<l-March release of “The Highway
Kind,” featuring more recent, previously
rcleascfi live tracks). What can you say?
This is vintage 'Towmes, accompanying
himself on guitar, along with Danny
Rowland on guitai’ and Owen Cody on
fiddle doing 17 of his best compositions
as only he could. Tliis is the ne.\t-best
thing to having l>een there. A must-have.

as Tarika Sammy. The Sammy-fi’ee T^ka,
still fronted by singer-sisters Hanitra and
Noro, marks an imprevement in songw’rit-
ing since the debut album. Member's of the
Baaba Maal band augment the five-piece
Tarika for this smart, catchy set that
includes many lynies steeped in Malagasy
politics. Standouts include the ebullieirt,
uptempo call-and-re.sponse theme “TVy
KIvy” the ten.se throb of “Avelo,” the dizzy-
ing. cascading hamronies of “Zotra,” and
the hyTmotic, dramatic groove of the Eng-
lish-language “Forever.”

NEW AGE

VANGELIS

Oceanic

PRODUCER: vangele
AHantic 82953

Even when he’s not making soundti’acks
like "Chariots Of Fire.” Vangelis sounds
like he’s scoring film,s. On “Oceanic,” he
uses the seas of the world as a thematic
basis for synthesizer tone poems. He gets
off to a sluggish start with t he treacly
opener, “Bon Voyage," and hits some dead
calms tirroughout. But he gets his sea legs
on the odd .sampled chorale of “Sirens,"
the hypnotic “Islands Of The Orient," and
the ambient grooves of “Spanish Har’lron"
He’s always been one of the most success-
ful orchestral sy’nthesists, but compared to
the usual Vangelis star fighters. “Oceanic”
has the mobility of a cruise ship.

VESTAL GOODMAN
Moments

PRODUCER: none listed
Spring Hill 5405

Southern gosjrel matriarch Goodman is
.still going strong after more than 45 years
and more than 50 albums with the Happy
Goodman Family and as a solo artist. This
standai’d-heavy collection doesn’t break a
lot of new gi'ound, but it doesn’t need to.
Goodman’s voice is still strong, and her
Ijerformance radiates heaitfelt commit-
ment to her material and her faith. Bouncy’
toe-tappers (“I Wouldn’t Take Nothin’ For
My Journey Now," “Looking For A City”)
stand pleasingly next to inspirational bal-
lads (“Born TV) Serve The Lord,” “These
Are They”), while fiddles, steel guitar, and
dobro atld some country touches (“God
Walks The Dark Hills,” “What A Lovely
Name"). Another W’orthy entry into Good-
man’.s immense and estimable catalog.

CONTEMPORARY CHRISTIAN

^TONY VINCENT
One Deed

PRODUCER; Dennis MatKosky
Star Song 0099

Vincent found success at Christian radio
with his debut album, and now’ he is look-
ing to find mainstream acceptance with
this sophomore collection. His chances
look extremely good. Vincent has an
expressive pop voice, and on this album it
appears to have more passion and convic-
tion than on his first release. He is also a
gifted songwiiter with a knack for turning
personal experiences into universal
truths. The album is filled with textui’ed
|jop/rock tunes ranging from “Do You
Really” to poignant ballad “Polly’s Eyes.”
Another highlight is the stunning title
track. Matkosky’s production is vibrant,
and Vincent's vocals are both haunting
and hoi>eful. A gifted singer/songwriter
whose talent is too impressive to be limit-
ed to one market.

A I ni liyiQ ■ SPOTLIGHT: Releases deemed by the review editors to deserve special attention on the basis of musical merit and/or Billboard chart potential. VITAL REISSUES: Rereleased albums of special artistic, archival, and commercial interest, and outstanding codec-
MLDUIVIda lions of works by one or more artists. PICKS {^): Newreleasespredictedtohitthetophalf of the chart in the corresponding format. CRITICS CHOICES (A-): New releases, regardless of chart polential, highly recommerxfed because of thar musical
merit.MUSICTO MY EARS(J3): New releases deemed Picks which were featured inthe'MusicToMy Ears’ column as being among Ihe most significant records of the year. All albums commercially available in the U.S. areelipble. Send review copies to Paul Verna, Billboard, 1515
Broadway, New York, N.Y. 10036. Send R&B albums to J.R. Reynolds, Billboard. 5055Wil^ire Btvd.. Los Angeles, (^90036. Send country albums to Chet Rippo, Billboard, 49 Music Square W., Nashville, TN 37203.Send Latin albums to John Lannert. 1814 Fern Valley Road.
Louisville. KY 40219. Other contributors: Havelock Nelson (rap/N.Y): Irv UchtnvanfBroadway/cabaret/N.Y.); Brad Bambarger (classical/N.Y.): DrewVI/heeler{jazz/N.Y);Deborah Evans Price (contemporary QiristiarVNashville): (aordon Ely (gospel); John Diliberto (new age).

BIUBOARD FEBRUARY 1, 1997 63

Copynghisd i

Reviews & Previews

^ MERRIL BAINBRiDGE Under The Water <oo

nming listeOI
PRODUCER: Siew Ooi

WRITERS; M. Baini>fidee. 0. Bolweil. $. Pauiren

PUBLISHER; MCA. BMI

Univenal 1145 (c/o UiWMeauelte single)

The follow-up to the Aussie singer’s
gold-selling debut single, “Mouth.” this
track swrls with a sweet pop melody and
easy-handed acoustic guitar strumming.
Bainbridge delivers a vocal rife with deli-
cate phrasing and a w’hispered lilt that
makes you feel warm and fuzzy all over.
As the song rises from its hushed and
enticing opening into a bright, sing-along
climax, it’s easy to imagine it blasting
from nearly every car radio on the high-
way. A solid future hit that should give
listeners one more good reason to inves-
tigate the increasingly popular album
“The Garden."

^ JON SECADA Too Late Too Soon (3;4S)
PRODUCERS: Jimmy Jam. Terry Lewis
WRITERS; J. Harris III. T. Lewis, J. Secada
PUBLISHERS: Flyte Tyme Turres. ASCAP; Foreign
Imported/EMI. BMI
SBKJEMI 11665 (cauetle single]

It’s been roughly three years since Seca-
da’s last English-language collection,
and he previews his forthcoming self-
tilled set with a pensive shuffle-ballad.
Placed atop a slow'iy Insinuating
pop/funk groove molded by Jimmy Jam
and Terry Lewis, the singer flexes his
instantly recognizable voice to maximum
emotional effect without ever flying over
the top. “Too Late Too Soon” builds to
an appropriately dramatic conclusion
amid a flutter of flamenco guitars and
castanets. It should cruise unto youth-
driven top 40 and sophisticated AC
playlists with relative ease.

BILLY LAWRENCE FEATURING MC LYTE
Come On (4;09>

PRODUCER: Darrell ‘Oelite* Ailamby
WRITERS: D. Ailamby. B. Lawrence
PUBLISHERS: 8.K. LawretKe/Wamer-Cbappeil. BMI
EastWest 9650 (c/o EleMra) kassene single]

Justice prevailing, the second try will be
the charm for this appealing, yet under-
appreciated, young performer. Her
sophomore collection, “Billy,” is
launched with a catchy funk-pop strutter
that makes good use of her girlish
voice — not to mention the always-
smooth lyiical prow’ess of guest star MC
Lyte. Adding to this single’s \isibility is
its inclusion on the hot soundtrack to
“Set It Off." Although it's a bit slave-ish
to current trends, t’would be lovely to
see this jam give LawTence a much-
deserved moment under the pop center-
stage spotlight.

R & B

^ ZHANE Request Line 13:36)

PRODUCERS: Kay Gee. Darren Lighty

WRITERS: R. Neufvelle, K. Gay. D. Ugbty, N. Ashford.

V. Simpson

PUBLISHERS: dth Town/Naughty's Mu$lc/Va YafDo
What U Gotta DiVNick O-Val. ASCAP
Itllown/Motown 32029 (cassette single)

The female duo that clicked several
years ago with “Hey, Mr. DJ” returns
with a chugging ditty that aims to dupli-
cate that hit’s rhythmic magic. Riding a
snippet from Ashford & Simpson’s “It
Seems To Hang On,” the pair displays a
matured way with a lyTic. Such vocal
growth adds muscle to an otherwi.se
lightweight tune. With lines like “Hey
DJ/Pick up the request line,” it’s easy to
imagine jocks (particularly during morn-
ing drive) having a good time with this
single on tlie air. tVom the act’s forth-
coming album, “Compilation.”

■k ANN NESBY This Weekend I3:57)

PRODUCERS; Jimmy Jam. Terry Lewis

WRITERS: J. Harris III. T. Lewis. A. Nesby, J Wright. T.

lee

PUBLISHERS: EMI-April/Flyte Tym&New
Perspeciive/Labor Force, ASCAP
REMIXER: Jim Wright
Perspective 00390 (cassette sir^le)

Nesby’s glorious album. “I’m Here For
You," continues to crank out one notewor-
thy single after the next. This time, the
musical vibe Ls smooth and romantic, as
she stretches out seductively over a
chilled, old-school soul groove. She could
give the kiddies romping around in jeeps a
lesson or two (or more) in subtle phrasing
and in building a lyric to a steamy conclu-
sion. We dare R&B radio programmers to
try and concoct a convincing reason to not
play this jam. It has absolutely everything
needed to be a smash.

* KENNY LAniMORE For You i3:S6>

PRODUCER; Barry J. Eastmond
WRITER: K. Lerum
PUBLISHERS: Colour’dyPSO. ASCAP
Columbia 8187 (CikiSony) (caueUe single)

It’s a real shame that moi'e folks haven’t
taken the time to let Lattimore’s fine self-
titled debut work its magic. Perhaps this
soft anti silky love song will do the trick.
Lattimore's performance is a study in
subtle emotional shading, w'hile producer
Barry Eastmontl dresses him in care-ssing
strings and glistening keyboards. Close
your eyes while you listen, and images of
candles and the one you love are likely to
fill your mind. An etjually suitable selec-
tion for R&B, pop, and AC formats.

★ JELLIE Don't Go (3:33)

PRODUCER: Robert White
WRITER: Jellie

PUBLISHER: Toe RiC* Hits. ASCAP
Whey OvAVt 1 105 (CO Single)

Newcomer Jellie alreatly Ls effectively
wooing the \iewers of BET with the video
clip accompanying this lovely soul ballad.
Backed by a finger-snapping slow groove
provided by Robert White, she confidently
unleashes a voice that is riddled with the
influence of Gladys Knight. Better than a
lot of major-label relea.ses vying for atten-
tion, this little indie jam ha.s the potential
to go the distance and transform Jellie
into a star. Be among the first to embrace
this winner. Contact: 213-634-0144.

COUNTRY

^ CLAY WALKER Rumor Has It (2 56)
PRODUCERS: James Slroud. Clay Walker
WRITERS: C. Wblker, MJ. Greene
PUBLISHERS: Lofi Jayne/SondaOdy Songs/Muy Bueno.
BMI

Giant 8621 (7-incn vrtgis)

Radio-friendly hooks abound within this
outing from Walker’s forthcoming Giant
album. The steel guitar-laced production
by the singer with James Stroud ha.s
bounce. Also, Walker turns in a solid vocal
performance, but the song is nothing
memorable.

> CHRIS LeDOUX When I Say Forever 0:5?)
PRODUCER: Gregg Brown
WRITER: 0. Linde

PUBLISHERS; EMI-BlackwoodAJnde Manor. BMI
Capitol 10377 (CO pramo)

LeDoux has one of the most distinctive
voices in country music today. Like fine
hand-tooled leather, it has character and a
special quality that Infuses this well-craft-
ed Dennis Linde tune with w’armth and
style. The only problem is the production,
which does not provide a suitable frame-
work for LeDoux. The overall polished
pop feel of the track seems as ill-fitting as
replacing LeDoux’s trademark cowboy
hat with a bowier.

^ MILA MASON Dark Horse (3:59)

PRODUCER: Blake Mevis
WRITERS: 0. Tyson. 0. McTaggail. A. Marshall
PUBLISHERS: EMI-April Canadadnto Wishin’, ASCAP;
Down In FrenVOrowning In Public. SOCAN
Atlantic 7052 (CO promo)

Mason caught country radio program-
mers’ attention with her Atlantic debut
single, “That’s Enough Of That," and she

follows that hit with this smooth, sultry
number — ^which sounds better with each
listening. Her first single w'a.s good, but
this new single is a much better showcase
for her voice, revealing the texture in her
vocals and her ability to convey the subtle
nuances of this lyric about a woman who
believes in her relationship and w'ants to
“let this dark horse run." A strong song
and great performance that deserves
attention at country radio.

★ BIG HOUSE Cold Outside (3:31)

PRODUCERS; Peter Brunette. Monty Byrom, David
NeutTau&er

WRITERS: M, Byrom, D. Neuhauser, D. Knutson, M.

Roese

PUBLISHERS: MCArStimin' Stone CoW&k Haus/Max Oog.

ASCAPi Easy Landing, BMI

MCA 55253 (c/b Unt) <7-lncn $m^)

What a great record! Nothing else cur-
rently circulating sounds like this, and it’s
a w'onderftil breath of fresh air. The raw
and insinuating groove pulls tlie listener
in, and the crisp acoustic punch demands
complete attention. The personality-
packed primary vocal performance is the
icing on the cake. This is the first single
from the group’s debut album, which is
slated for a Mai-ch 25 release. If this sassy
and sulfry little number is any indication,
there are great things ahead for this out-
fit.

KIPPI BRANNON Daddy's Little Girl 0:37>

PRODUCER: Mark Btigbt

WRITERS; A, Kasel. K, Slaughter, S. Webb

PUBLISHERS; Purple SurVTer) Ten Musjc GroupiReal Girt-

fiiends/Slan Webb. SESAC

Curb/Universal 3002 <7-incn ar^ie)

A large segment of the population will not
be able to listen to this with dry eyes.
Some may dismiss it as too sentimental,
but the truth is that many of country
music’s classic songs are heartfelt weep-
ers — and this finely crafted tune about a
daughter’s relationship with her father is
ripe with images many women can relate
to. Former teen artist Brannon turns in a
stunning |)erformance that wiings the
emotion out of the lyric and should signal
a welcome re-entry at country radio.

DANCE

^ RuPAUL A Little Bit Of Love i7:44)

PRODUCERS: Welcome. Joe Cerrano
WRITERS: RuPauI. J. CarratK)

PUBLISHERS; RuPaul Charles. SESAC: Touch Me II.
ASCAP

REMIXERS; Markus Schulz. C.L. MeSpadden. Welcome.
Joe Carrano

Rhino 7221 <]2-inch single)

The dreg superstar is still in search of a
pop hit befitting his nTassivc media pro-
file — and this could be it By keeping the
kitsch down to a minimum, RuPaul is able
to display his fine tenor pipes as well as a
natural talent for breathing depth into the
simplest refrain. His presence makes this

oh-so-friendly hi-NRG anthem a reason-
able entry for raiiio airw'aves. Longtime
supporters at club level are treated to
excellent underground remixes by
Markus Schulz and C.L. MeSpadden, who
tweak the track with an edg>’ beat and a
rush of catchy keyboard loops.

^ FAST FORWARD FEATURING BEVERLY
Never Felt This Way (7:U)

PRODUCER; Brothers Of Peace
WRITER; not listed
PUBLISHER; not listed
REMIXER: DJ Strobe
Jellybean 5432 (12-inch single!

Clubhcads with a hankering for deep-
soul flavor in their house music should
waste no time snagging a copy of this
luscious treat. Unknown singer Beverly
strikes an intriguing pose on this track,
which benefits from the song-sensitive
style of producers Paul Scott and Shank
Thompson. They wsely place primary
emphasis on her fuli-bodied belting, as
well as the song’s wickedly contagious
chorus. Remixing upstart DJ Strobe
comes to the table with a version that
sparks with Euro-pop spice, w'hich
should help the label's bid for elevating
this jam beyond the club realm.

GROOVE CLUB Upside Down !5;2S)

PRODUCER: Eye Witness

WRITERS: 6. Edwards. N. Rodgers

PUBLISHER: SoiW Songs/Bernard's Other Music. BMI

REMIXER: EyeWitrress

Ichiban 400 (CD single)

The Diana Ross disco nugget is convinc-
ingly upgi-aded into a hi-NRG anthem
that should connect with folks w-ho dig
the Euro-spiced musings of La Bouchc
and Real McCoy. The idea of adding a
male rap during the verses is a good one,
but its execution here leaves a bit to be
desired. However, that’s a minor quibble
that will not harm this solid single’s
future on mainstream dancefloors and
crossover stations. Taken from the
notable new multi-act compilation
“Instant Dance Party.” Contact: 770-419-
1414.

^ PATTY GRIFFIN Every Little Bit (3:4 1)

PRODUCER: not listed
WRITER: R GriHm

PUBLISHERS; One Big Love/Chmrr>e Oog. ASCAP
AtM 00311 ICD Single)

After gathering the praise of nearly
every breathing critic, singer/songwriter
Griffin appears ready to take on radio
programmers. She fully lives up to the
accolades on this spare and literate
acoustic-pop interlude from the album
“Living With Ghosts,” during which she
infuses a AjI) gamut of emotions into the
song. Often recalling Rickie Lee Jones in
her offbeat phrasing, Griffin is a natural

for triple-A stations with a warm spot for
introspective, super-sensitive folkies.

WARREN HILL Shelter From The Storm <4:i9i

PRODUCER: not listed
WRITER: not listed
PUBLISHER: not listed
Discovery 77058 ICO promo)

Instrumentalist Hill has a good chance at
developing the widespread audience his
music deserves with this shiny power bal-
lad. Needless to say, the music is sharply
executed and immediately interesting to
the ear. The added enticement is a vocal
version that gives listeners something
extra to grab hold of. A wise program-
ming selection for ballad-driven AC out-
lets.

ROCK TRACKS

^ VERUCA SALT Volcano Girls (no tuning u$ied)
PRODUCER; Bob Rock
WRITER: Gordon

PUBLISHER: Are You There God. It's Me Music.

ASCAP

Outpost 3000 (c/o Uni) (CD promo)

Rock radio darlings slam out another
home-run hit with this slice of the
album “Eight Arms To Hold You.” As on
past recordings, this jam kicks with
sharp guitar licks, urgent vocals, and a
hook that .simply doesn’t quit. This may
be classified as modern or “alterna"
rock, hut at its core it’s a great pop
record that leaves you reminiscing
about youthful days spent glued to AM
radio.

^ THE VERVE PIPE The Freshmen (4:29)
PRODUCERS; Jack Joseph- Puig. Jerry Harrison
WRITER: B.V. Ark

PUBLISHERS: Sid Flips/EMI-ApnI. ASCAP
RCA 64679 <c/o BMC) (c«sMUe single)

Already getting played on more than 50
rock stations prior to its release, the
time to attempt crossing this fine sec-
ond single from “Villians” onto pop
radio is fast approaching. It has all of
the markings of a multiformat smash — a
memorable hook, empathetic words of
love, sterling production and instrumen-
tation, and a heartfelt lead vocal. Icing
on the cake is a w'ell-crafted video,
directed by Mark Neale— who has pre-
viously lensed clips for U2 and Counting
Crow's.

RAP

^ LARGE PROFESSOR Ijuswannachill <no timing

l•s(«d)

PRODUCERS: Large Professor
WRITERS: rxX listed
PUBLISHER: not listed
REMIXER: Extra P
Goffer) 22220 (c/o l>ni> (CD »<ng)e)

A champion of simplistic beats and
rhymes. Large Pi'ofessor continues to
move the crowds with his no-nonsense
style of rap and his (indisputably well-
thought-out tracks. “Ijuswannachill” is the
second cut to preview his forthcoming
album. “The LR” and the Professor asks
only to be blessed with the chance to rock
the mike and get paid well to do it It’s not
much to ask, actually, since most cuts
remixed by Extra P tend to go gold and
then platinum.

^ RAMPAGE Wild For Da Night (no bmirv listed)

PRODUCER: not listed

WRITER: not listed

PUBLISHER; not listed

Etektra 5897 ICMsene single)

Rampage, aka the Last Boy Scout, has
been inching toward stardom since 1994,
when he kicked "Beware Of The Ramp
Sack" on Row'dy. Having been heard on
hits by Craig Mack and Busta RhjTnes, he
rarely has left the hip-hop frontburner.
“Wild For Da Night” preriews the album
“Scout’s Honor By Way Of Blood” with a
juicy anthem that laces raw rhymes into a
haunting, piano-lined groove and guest
lyrical licks by Spliff Starr and Lord Have
Mercy.

NEW & NO

FAITHLESS Insomnia (&4i>

PRODUCERS: RoUo, Sister Bliss
WRITERS: M. Jazz. RdlO. S. B-'iSS
PUBLISHER: not listed

REMIXERS: Armand Van Heiden, %iHo, Staler Bliss, Oe
Donato

Arista 3306 te/o baiq) (]24nch single)

With all of Eurojje having long gone
mad for this brilliant new band, the
stateside premiere of the album “Rev-
erence” is long ovei’due. This single
aen’es as a fine peek into the project,
giving listeners a taste of urgent dance
rhytitms, a complex and infectious pop
melody, and vocals that are notche.s
above the typical vamps heard on club-
originated recoixis. Thanks to a well-
conceived double-pack of remlxess DJ
turntables will the first home for this
gem of a .single. However, there is little
doubt that pop prog)*ammers will beck-
on for “Insomnia” with the .same excite-
ment it has other recent unique datice
hits, like “Children” by Rol>ert Miles.

TEWORTHY

SUZA MOGUL Make Me Feel (4.00)
PRODUCERS; Chadd. Mick Hanson
WRITER: S. Mogul

PUBLISHERS: Suza Mogul. BMI; M-Peweted.
ASCAP

REMIXERS: Chadd, Mick Hanson. Rolando Her-
nandez

M-Powered 70011 (csuetie single)

Charming pop/dance ingenue Mogul
makes an excellent first impression
with this seductive, disco-charged
confection. With a purring perfor-
mance and a sticky hook as its focal
point, the track races with kicky hi-
NRG beats and jiggly funk guitar
riffs. A handful of more forceful,
house-happy remixes is prorided
for possible club consumption, but
the pop edit is what suits the song
and Mogul best. Besides, this is a
ditty that was clearly designed first
and foremost for pop radio air-
w'aves. Check it out. Contact: 212-
431-1320.

Q||LU2| EC ■ releases with the greatest chart potential. CRITICS CHOICE (★ ): New releases, regardless of potential chart action, which the reviewer highly recommends because of their musical merit. NEW AND NOTEWORTHY: Highlights new and

wnlULEOa developing acts worthy of attention. Cassette, vinyl or CD singles equally appropriate for more than one format are reviev/ed in the category with the broadest audience. All releases available to radio and/or retail in the U.S. are eligible for review. Send
copies to Larry Flick, Billboard, 1515 Broadway. New York, N.Y. 1(X)36. Oauntry singles should be sent to Deborah Evans Price, Billboard. 49 Music Square W., Nashvilte, Tenn. 37203. Contributors: Brett Atwood (L.A.), Shawnee Smith (N.Y).

BILLBOARD FEBRUARY 1, 1997

CopynghtecI

Reviews & Reviews

HOME

VIDEO

EDITED BY CATHERINE APPLEFELD OLSON

HEALTH & FITNESS

SHVnrZ! MY YIDDISHEH WORKOliT

The Workman's Circle
30 minutes, $19.95

Just when you thought you’d seen the most
niche-oriented of fitness videos, here’s one
that jumps right off the scale. Going where
not even Joan Rivers dared to tread in last
year’s faux workout tape "Shopping For
Fitness,” the video packs not only a pretty
decent muscle-toning workout (best suited
for beginners, intermediates, and seniors),
but a language lesson as well. Three fitness
buffs who clearly prefer English as their
second language conduct the class in Yid-
dish, unth English subtitles pictured on the
screen for the uninitiated. F\m and feisty,
the tape scores high on the novelty meter
but is likely to wear on the nerves of even
the most Yiddish-friendly users who want
an at-home I'egimcn they can follow se\'et*al
times a week. Contact: 800-922-2558.

PUMPING IRON II: THE WOMEN

Central Park Media
107 minutes, $19.95
The producer of the early Arnold
Schw’arzent^ger tome “Ihimping Iron”
turns to hea\'yweights of the female persua-
sion in this sequel of sorts. Nearly’ 20 years
after the first “Pumping hx>n” morie hit the
screen, this cross between documentary and
feature film sufficiently catapults the sport
of bod>' building into the ‘90s. Five of the
world’s current top female body builders —
Rachel McLish, Bev FVancis, l^ri Bo\ven,
Carla Dunlap, and Lydia Cheng— muscle
across the screen in preparation for the
World Cup championship. Although the sci-
ence of total physical discipline might not
appeal to ever>'one, the story of these
women’s courage and unflappable determi-
nation that frames the film carries it to new,
lofty heights. Contact: 212-977-7466.

SPORTS

GHOSTS OF THE BAUPARK

The Freeman Group
25 mirmtef, $19.95

The idea for this unique sports documen-
tary* — to pay tribute to the now sleeping
Durham Athletic I^k, made famous in the
morie “Bull Durham” and a hub of commu-
nity activity during the mid-20th century —
is an undisputed winner. Hosted by Crash
Dasis (played by Kevin Costner in “Bull
Durham”), the tape .seeks to document the
role of baseball in a more simple time in
American society as well as honor some of
the key players who graced the Durham
park’s turf. Unfortunately, problems lie in
the execution, w’hich fails to live up to
promises made on the cover. For e.xample,
“interview's" with erstwhile greats such as
Willie Stargell, Joe Morgan, and Catfish
Hunter come in the form of quick conversa-
tion snippets that seem to have been
serendipitously caught on ta{ie. In short,
the all-too-brief look at the ballpark and
this slice of hardball history* is simply not
substantive enough to satisfy the serious
s|)orts fan. Contact: 919-682-2222.

PERFORMANCE

LORD OF THE DANCE
Ril^Gram Video
92 minutes, $24.95

Timed to hit retail at Just about the same
time the dance/musicai extravaganza
touches down at New* Yor'k’s Radio City
Music Hall, this tajre w'ashe.s on to Ameri-
can shores packed with praise from the
U.K. In the spirit of so many stage sensa-
tions before iu “Lord Of The Dance” has
its roots in a more traditional time and
place — in this case the folk music and
dance of Ireland — but its presentation is
decidedly big-budget ’90.s. The tape was

filmed, aptly, during a performance at
Dublin’s Point Theatre that starred
“Riverdance” show'man Michael Flatley.
Retailers can expect interest in the tape to
pick up as the buzz on the already sold-out
tour makes its w*ay across the States.

TRAVEL

WHERE IS PATAGONIA?

Ken Armstrong ProductiotTS
105 minutes, $34.95

This tape will serve as a wake-up call for
those who think I^tagonia is just a brand of
outdoor apparel, and a wonderful keepsake
for those who are aware of one of the most
beautiful regions of the w'orid or have had a
chance to experience it in pei*son. Nestled
just below the 41st parallel in South America
spanning parts of Chile and Argentina,
I^tagonia is home to a rainbow of wildlife-
including whales, penguins, and .some unique
birds — as well as .some magnificent glacier
formations. A T\’ and newspaj)er journalist
conducts this crash course on the area, which
contains some histoiy* a la Charie.s Darwin’s
exploration of Patagonia and a geography
lesson accompanied by .some fabulous
footage. Contact: 800484-1065.

INSTRUCTIONAL

VIDEO PARENTS

6MG Video

approximately 40 minutes each, $14.98 each
T^ree new* additions to the “\fideo Par-
ents” family — “The Wonderful Terrible
TVvos,” “The Perfect Guide To Potty TVain-
ing,” and “Toddlers At Work” — pick up in
age where the first trio of parental guides
left off last year. Designed for first-time
parents, although not a bad brush-up for
veteran moms and dads, the tapes offer a
non-stressful measuring stick for develop-
mental skills. What’s new* about these
three that wouldn’t have worked in the
first, infant-oriented releases is that they
were created so toddlers can w*atch along

with their parents and learn by experi-
ence. As with the first batch, this set fea-
tures clearly delineated “chapters” and
easily identified .segments.

SINGER'S WORKOUT

Silver Mine Video
105 minutes. $19.95

A veteran voice coach provides a chance for
closet chanteurs and chanteuses to fine-tune
their vocals without paying the high price
that often accompanies private lessons.
Divided into five segments, the tape guides
viewers through exercises created to help
tune the voice, expand range, and enhance
singing style. Teacher Buddy Mbc presents
his le.s.son in a nonthreatening yet complete-
ly .straightfonvai'd manner that’s best suited
to tho.se who take theii* vocals seriously. For
this audience. Mix provides everj*thing
needed to get out of the shower and on to
the stage. Contact: 818-^542-2880.

MADE FOR TV

ANIMAL BLOOPERS WITH JACK HANNA
Time Life Video
30 minutes, $12.99

Modern-day Dr. Doolittle Hanna seems to
be in perfect harmony with all the earth’s
creatures during the filming of his |>opuIar
“Zoo Life” television series. But some-
times seals get a little splashy, pigeons feel
the need to perch on human head.s, and
giraffes take on second careers as hair
dressers. It is these priceless, clearly unre-
heai*sed moments and Hanna’s sweetly
self-deprecating narrative that makes this
tape so much fun to watch. Aside from the
hilarious outtakes, the tai>e includes some
of the more memorable show* snippets,
plus 10 minutes of additional footage that
are not part of the TV “Bloopers” special.

FOR THE RECORD

“Chess Starts Here!” (Video Previews,
Jan. 11) has a running time of 60 minutes

and a suggested price of $29.95. For fur-
ther information contact 212-459-4725.

The correct phone number for “Inside
Secrets Tb Winning Sweepstakes & Con-
tests” (Video Previews, Dec. 21) is 914-
429-7497.

ENTER*

ACTIVE

EDITED BY BRETT ATWOOD

GOLDEN NUGGET

Virgin Interactive

PC CO-ROM

The nevve.st entrant into the video gam-
bling genre delivers in spades on its
promise to offer “real Las Vegas-style
gaming with all the amenities.” “Golden
Nugget” dazzles not only with its assort-
ment of games — sixteen gambling stan-
dards like roulette, blacl^ack, and a vari-
ety of pokers — hut also with crisp,
electrifjing backdrops and 3D graphics.
Video host Adam West is a pla>*ful, perfect
guide. Granted, video poker is video poker,
and no one in the gaming industry is rein-
venting the wheels on which those fateful
slot machine icons spin. Still, we would do
anything to avoid sitting betw'een obnox-
ious drunks at the craps table, gorging on
substandard buffet fare, and, w'orst of all,
paw*ning our watches in order to hook up a
bus ride back to Holl>'w*ood.

PERFE(n’ WEAPON

Amencan Softworks Corporation
Sony PlayStation

Video game newcomer American Soft-
works makes an impressive debut with
this fighting/adventure game. As Captain
Blake Hunter, the player explores five
alien worlds filled with enemies that
creep, crawl, lurch, and leap at gamers.
The enemies are programmed to attack

and respond to each kickbo.xing move by
the player, which makes it difficult to sim-
ply push a few buttons to attack. Players
can choose from more than 100 martial
arts moves, including chokeholds, throws,
and take-dow*n8. Several jwwer-ups and
items are contained in the gaming envi-
ronment, including armor, health, and
keys. One of the game’s more innovative
features is its frequent use of changing
camei*a angles. However, while it is usual-
ly used effectively, there are some parts of
the game w'here the feature distracts from
the on-screen action and, in a couple of
sequences, complicates ganieplay. “Perfect
Weapon” is not perfect but it does offer
an original game concept and a considei*-
ablc challenge.

AUDIO

BOOKS

EDITED BY TRUDI MILLER ROSENBLUM

THE HAND I FAN WITH
By Tina McEiroy Ansa
Read by Sbeiyi Lee Ralph
BOD Audio

6 hours (abridged), $23.95
With her beautifully musical, expres-
sive voice. Sheryl Lee Ralph is the
perfect choice to spin Tina McElroy
Ansa’s latest yarn. Set in the fictional
town of Mulberry, the setting for
Ansa’s previous novels, “The Hand I
Fan With” is at once a love story, a
ghost story, and a change-of-life story.
Lena is a wealthy, successful, 45-year-
old businesswoman who has uninten-
tionally become the backbone of the
tow'n. Thanks to her good-hearted
nature and keen organizational skills,
she’s the one everyone comes to with
problems. Lena is glad to help, but
alone in her big house, she longs for
some emotional support of her own,
and keenly regrets not having a lover
or a family. But Lena docs have an
unusual gift: the power to communi-
cate with the dead. Disturbed by her
psychic pow'ers, she has tried to ignore
them throughout her life. But now,
overcome with loneliness, her longing
brings to life a warm, sexy, sensitive
male ghost who has watched her and
loved her from the other world. Lena’s
love affair w'ith Herman (“her man,”
get it?) is an earth-shaking romance
that transforms Lena’s life and helps
her restore order to it. Lena also
learns to stop letting the demands of
others to swallow her up. It’s a warm,
satisfying, and insightful tale.

TALKING WITH CONFIDENCE FOR THE
PAINFULLY SHY
By Don Gabor
Read by the author
Random House Audiotx>oks
90 minutes (abridged), $12.00
This helpful audio won't cure chronic
shyness magically, but it does give shy
people a valuable tool for negotiating
social and business situations. Gabor's
practical, how-to approach gives con-
crete examples of the kinds of things to
say to socialize successfully at a party,
give u good impression at a job inter-
view, or speak up at a business meeting.
At a party, he advises asking open-
ended questions and listening closely to
the answers for topics of conversation.
For example, “How do you know our
host?,” “We met while walking our
dogs," “Really? What kind of dog do you
have?," etc. He also adrises identifying
one’s own interests and hobbies early,
and mentioning them in conversation —
this makes one seem interesting, and
offers more possibilities for conversa-
tion. F'or a business meeting. Gabor sug-
gests rehearsing in advance what one
wants to say. Most of the suggestions
are common sense, but can be useful for
someone who has trouble speaking up.

THE MANSION ON THE HILL—DYLAN, YOUNG,
GEFFEN, SPRINGSTEEN, AND THE HEAD-ON
COLUSION OF ROCK AND COMMERCE
By Fred Goodmen
Times Boolts, 431 pages, $25

Using Hank Williams’ “A Mansion
On The Hill” as a metaphor for the
uneasy marriage between the art
and business of music, Journalist
Fred Goodman makes a fascinating
inquiry into the lives of the people
who defined the parameters of the
modern music industrj'.

Venturing into the parallel uni-
verses of Boston, New York, Wood-
stock, San Francisco, Detroit, and
Los Angeles during the fertile and
tumultuous ' 60 s, (Goodman ti'aces the
lives of the acts who had the most
pi*ofound impact on the way business
is conducted today — Bob Dylan,
Bruce Springsteen, Neil Young, the
Eagles — and the managers, booking
agents, A&R men, producers, and
label entrepreneurs who handled
their careers.

Besides David Geffen, who par-
layed a low-level job at the William
Morris Agency into one of the world’s
largest entertainment empires,
Goodman’s music business subjects
include Springsteen producer/man-
ager Jon Landau, who rose to promi-
nence as an influential critic and con-
fidant of such industry pioneers as
Jerry Wexler and Cli\'e Davis; Dylan
manager Albert Grossman, whose

roster also included the Band, Janis
Joplin, Paul Butterfield, and Peter,
Paul & Mary; Geffen partner Elliot
Roberts, who went on to manage Neil
Young; Elektra staff producer and
A&R scout Paul Rothchild, who
signed and produced Butterfield and
the Doors, among others; and such
label entrepreneurs as Ahmet Erte-
gun, Mo Ostin, Joe Smith, and Davis.

Goodman sums up Grossman’s
influence by noting that “two innova-
tions made [him] the first modern
rock manager: he recognized the
artistic credibility and impact of his
clients, and he translated it into cre-

ative freedom and financial power.”
Later, he describes Geffen as “a hun-
gry talent agent . . . whose single-
minded focus wasn’t on explaining
and empowering the underground
but simply success.”

The common denominator in the
careers of all these industi'y pioneers
is suggested in Goodman’s title: “the
collision of rock and commerce.”
Whereas other studies of the music
industry — most recently Fredric
Dannen’s explosive “Hit Men” — have
exposed the commercial motivations
that underlie virtually every decision
made in the music industry, Goodman
goes further by suggesting that even
artists who profess to be above the
commercial fray are still motivated
by financial gain.

To cement his point, the author
cites Young’s early pronouncements
of his desires for “fame and money.”
Similarly, Goodman’s study of
Springsteen’s career centers on the
irreconcilable images of the ai’tist’s
“mansion on the hill” and his im jx)]h
idi persona.

^causc Goodman covers so much
ground, his narrative is sometimes
disjointed. However, he succeeds at
I>ersuading the reader that no musi-
cal artist can function today outside
the sphere of the business. In Good-
man’s view, it is the business that
drives the music, not the other way
around. PAUL vekna

HOME VIDEO: All new titles released at sell-through prices are eligible. Send review copies to Catherine Applefeld Olson. 3817 Brighton Court. Alexandria. Va. 22305. ENTER*ACTIVE: Send review copies to Brett Atwood. Billboard. 5055 Wilshire Blvd.. Los
Angeles. Calif. 90036. BOOKS: Send review copies to Pau) Verna. Billboard. 1515 Broadway. New YorK, N.Y. 10036 AUDIOBOOKS; Send review copies to Trudi Miller Rosenblum. 202 See)ey St., Brooklyn. N.Y. 1 1218

Copyrighted material

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(Continued on next jmge)

BILLBOARD FEBRUARY 1. 1997

HELP WANTED

WANTED TO BUY

SPECIAL MARKETS MANAGER

Telarc International is seeking an individual to assist the company in
establishing and managing a Special Markets Division, for the purpose of
secondary exploitation of current and catalog releases, as well as the
licensing of outside material. Primary responsibilities will be to research,
propose and implement special marketing opportunities.

This position requires a proven “self-starter” with industry experience
(preferably in special markets) and a dynamic, energetic and results-orlented
style. This position will report directly to the president of the company. Must
be willing to relocate to Cleveland.

Qualified applicants may submit resumes and salary requirements to:
(MO PHONE CAUS, PLEASE)

TELARC INTERNATIONAL
Attn. Human Resources

23307 Commerce Park Road • Cleveland, Ohio 44122
EOE/m/f/h/v

ACCOUNTING

MANAGER

Fast track Union County - NJ independent
record label needs'a motivated, high energy,
hands-on accounting wizard.

Must have BS in Accounting, excellent work
ethic, strong computer literacy, and min. 6 to
10 years exp. supervising ail acctg, find,
reporting, credit & collections, cash mgnt
functions, and bank acct reconciliation at a
small to medium size label.

Retail company and/or royalties exp. a plus.
Must include salary req. to be considered.
Fax resume & cvr ttr to 908-620-0911

EVENT COORDINATOR

Creative person needed to
conceptualize and execute special
events in nightclubs nationwide on
behalf of a major tobacco company.
We operate a network of nearly one
thousand venues spread out over
twenty markets. Requirements: 3-5
years experience in all aspects of
event planning and execution along
with an understanding of night-
clubs. Send resume and salary
history to:

KBA Marketing, HR Code: SEC
640 N. LaSalle, Chicago, IL 60610

DIRECTOR OF
PUBLICITY

Outstanding opportunity at
outstanding label! Create and
implement publicity campaigns
tor all Rykodisc releases;
handle all label and corporate
visibility campaigns. Requires
5-7 years experience in music
business, best media contacts.
Fax resumes to Jill Christiansen
by 2/10 at 508-741-4506 or
27 Congress
Street, Salem
MA 01970-
5575. No
calls, please.

MUSIC MARKETING

NYC based indie sales & marketing company
with major label clients seeks self-starter to
help coordinate campaigns & discover new
sales opportunities lor major label projects.
Music industry exp. Required. Foreign
language (Sp..Fr.) A4-.

Boi«SS7, Billboard Classified
1618 Broadway, New York, N.Y. 100S6

Established. U.S. -based alternative
music convention and festival seeks
international representation for
Australia, England, Germany. Japan.
Responsibilities include sales/
promotion. Few resume: (516) 466-7161.

NATIONAL SALES DIRECTOR

Needed by New York based leading independent
label. Must have 2-3 years experience with a
label In a national sales position. Duties include
sales promotion to major retail chains, one-slops,
independent stores, and distribution company;
planning and Implementation of all new release
sales and retail mirketlng campaigns to
accounts, creating catalog programs and other
special account promotions. Travai to key
accounts necessary. Position requires strong
communication skills, both written and verbal.
Computer proficiency essential.

Box 6355

Billboard Clasaifiad
1515 Broadway
New York, NY 10036

NEW EUROPEAN &
MUSIC FILM
COMPANY

Wanted top professionals to launch
exciting new indie label & film
production company. Searching for
amazing individuals to fill the following
terrHories in the U.K., Scandinavia, and
U.S.

Marketing & Sales Record
Promotions Publicity
Director of A&fl
Sales Managers
Producers for Music ft Video
Artist Management
Concert Promotion
please lax resume ft salary requirements to:
(46) 8 24 32 32

employment to begin March 1997

RfKO

CASH -CASH -CASH

Top $ paid on CD's, CasseHes,
LP's, Music Books, Rock
T-shirts. No quantity too big or
too smail. Call 20t -662-7600 or
Fax: 201-662-8060

Reducing your Used Stock?
Selling your Collection?
Going Out of Business?

CASH (or CDS, Tapes,
LPS,So(tware, Videos

Scott Henderson at 602-635-9102
e-mail: scotthh@primenet.com

S.^iith-Alster

AM)C0MP.-\NV-

Musicft^iSS?

CONSUlikNTS

HfBUY

NAMEBRAWMBtOUNDIS

> Audio Books >video Gaines

>Computers

> Videos >Corapact Discs
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(954) 351-0000

Fax: (954) 351-0561

ON YOUR MARK...
GET READY...
GET SET . . .
CALL

BILLBOARD
CLASSIFIED
TODAY! !
800-223-7524
FAX: 212-536-5055
212-536-5174

ACCOUNT MANAGER POSITION

Leading national independent dlttrlbutor has an
opening for an account manager In the midwest
terrhory. based In Chicago. Appticanls must have
at least 5 years experience in music store sales
and have a good understanding of music and
music store operations. We offer a competitive
base salary, expense allowance, commission
override and performance bonus. Interested
parties should write to: Account Manager
Position. Allegro Corporation, 14134 N.E. Airport
Way, Portland.OR 97230. Fax: 503-257-9061. All
applications kept confidential. No phone calls
please. We are an equal opportunity employer.

Ai.i.ix;i«)

CBEAPNG DEMAIIO « DaiyEWlIM EMTEHTAINMCNT

DON’T MISS BILLBOARD’S COVERAGE
OF THIS YEAR’S NARM . . .

March 8th -11th

Billboard's MARCH 15th issue features our annual spotlight on the NARM confab taking
place in Orlando. Florida. This special issue provides readers with an up-to-date,
comprehensive overview on the general health of the retail market (multimedia, video
and music products), in addition, coverage will preview artists scheduled to perform,
provide complete listings of events and explore the retail landscape of Orlando.
Call Billboard Classified today to reserve your ad space.

Deadline: March 7th Issue date: March 15th

1(800) 223-7524, (212) 536-5174, Fax: (212) 536-8864
Ask for Jeff Serrette

SOUNDTRACK BOOM

(Contimtedfrom page 1)

WCGI Chicago assistant PD/music
director Don E. (Cologne cites a more
recent example of R&B soundtracks’
promotional punch. “Being on the
‘Eddie’ soundtrack let people know
about [Island debut act] Dru Hill," he
says. “Even though the film didn’t do
that well with urban consumers, Dru
Hill really drove the soundtrack and
created a high level of consumer aware-
ness.”

Dru Hill’s “Tell Me,” featured on the
1996 soundtrack, w’as certified gold and
peaked at No. 5 on the Hot R&B Singles
chart. The Band’s eponymous debut
album has sold more than 134, (KX) units
since its release Nov. 17, 1996, accord-
ing to SoundScan.

But if the creative chemistry is just
right, Ck)logne says, even greater things
can happen for
established acts.
“Coolio . was
already a platinum
artist, but having
‘Gangsta’s Par-
adise’ on the MCA
‘Dangerous Minds’
soundtrack pro-
pelled him to
superstardom and
opened the door to
a whole new world of pop consumers,”
he says.

“Gangsta’s Paradise” was No. 1 on
the Hot 100 for three lA’eeks and earned
Ckkolio a Grammy for best solo rap per-
formance last year.

Independent retailer George Daniels,
owner of the Chicago-based Geoi^e’s
Music Room, agrees that appearing on
soundtracks can enhance a veteran
artist’s career. He cites Underworld’s
1995, gold-certified “Dead Presidents”
soundtrack as generating significant
catalog sales for the heritage R&B acts
featured on the album.

However, Daniels is cautious about
the potential sales gains to be had by
more contemporary acts. “Being on a
soundtrack can help keep an artist’s
sound out there until their own album
comes out, but you can’t wait too long,”
he says. “Young fans tend to be trendy
and can lose affection for a particular
sound. So you have to follow up quickly
or risk losing their interest”

Nonetheless, says MCA marketing
national director Marilyn Batchelor,
soundtracks are “a great setup mecha-
nism for an artist that the consumer
doesn’t know' about and as a bonus the
money for promoting the singles and
videos is separate from the artist’s bud-
get

“In the case of K-Ci & JoJo’s debut
album this spring, being on the Sep-
tember 1996-released ‘Bulletproof’
soundtrack was a great opportunity to
identify them apart from being mem-
bers of [MCA act] Jodeci,” she says.

K-Ci & JoJo’s still-untitled album is
scheduled for release in the spring.

Batchelor says that MCA debut artist
Rahsaan Patterson also received
mileage from his “Bulletproof” ap-
pearance. “His track ‘Where You Are’
gave him some critical attention, and
since he’s got a sound that will appeal
to more than the R&B community, it
w’as good that the soundtrack was not
marketed exclusively to urban demos,”
she says.

“The warm reception by [consumersl
reinforced to the label that it was a good
song and should be a single from my
own album,” says Patterson of another
spinoff effect “The fact that [‘Where
You Are’l Ls acoustic and folky, yet has a
funlQ^ groove to it, is what I think gives
it an edge with regard to other songs
out there. It just Jilows me aw'ay that
even (hard hip-hop consumers] I’ve

JOE

talked to can get with it”

BURGEONING TREND

Since 1991, 15 soundtracks ha\’e been
No. 1 on Top R&B Albums, w'ith 32
sets making the top 10. In the five
years prior to that, not one soundtrack
performed as well.

In 1996, 21 of the top 30 soundtrack
singles charting on the Hot 100 were
recorded by R&B acts.

In a business w4iere nothing succeeds
like success, the trend has not gone
unnoticed: There are a number of high-
powered, R&B-leaning soundtracks due
in the coming months, in addition to
Columbia’s “Love Jones.”

“When We Were Kings,” due Feb. 1 1
on Mercury, features new tracks by
Brian McKnight and Diana King;

Zelma Davis; and
the Fugees featur-

B Quest, Busts
Rh^es, and Rap-

board, Jan. 18).
Also included are
songs by James

PATTERSON ers, B.B. King, the
Jazz Crusaders,

and the Spinners.

Jive Records has two soundtracks
slated for release in February. “Dan-
gerous Ground” features tracks by such
artists as Ice Cube, Keith Murray, Too
Short, the Click, and Spice 1. “Booty
Call” features such artists as Gerald
Levert, Silk, Joe, and SWV’s Cheryl
“CkiKo” Gamble and Johnny Gill.

On April 15, Qw'est will release
“Sprung,” which features tracks by
such artists as Tisha Campbell, Tishina
Arnold, Jodeci’s Mr. Dalvin, Jay Z, E-
40, Lost Boyz, and debut Qwest act
Keystone. The Trimark film of the
same name is slated for release May 2.

Due in late summer is LaFace’s
“Soul Food,” w'hich accompanies the
20th Century Fox film.

The phenomenon extends to TV as
weU. In April, Warner Bros. wiD release
the soundtrack to the sitcom “Living
Single.” The set features Boney James
and Eric Benet performing a cover of
the Stevie Wonder classic “Super-
w'oman (Where Were You When I
Needed You).” Other acts appearing
include Queen Latifah, the show’s star;
Xscape; and SWV
Mercury marketing senior director
(US.) Josh Zieman says that the pletho-
ra of soundtrack releases correlates
directly to the increased number of
movies with black cultural themes. “The
trend began with Hollywood,” he says.
“There’s been a rebirth in films geared
toward black and crossover audiences,
which has led to a lot more soundtracks
in the R&B genre.”

Arista soundtracks A&R VP (U.S.)
Maureen Crou'e says that the increased
number of charting soundtracks is a
reflection of the strength of the sound-
track business in general. “Filmmakers
are using them to help drive their films
more, and the music makers are mak-
ing better-quality soundtracks,” she
says.

Case in point: Arista’s “Waiting To
Exhale” soundtrack, which was No. 1 on
Top R&B Albums for 10 weeks. “The
[2()th Ontury Fox] movie did well at the
box office, but the soundtrack really
went through the roof,” Crowe says.

“Wailing To Exhale” has sold more
than 4.7 million units, according to
SoundScan.

The turning point for the R&B
soundtrack business was 1991’s “New
Jack City” (Giant) and “Boyz N The
(Continued on next page)

BILLBOARD FEBRUARY 1 . 1 997

ANDERSON TAPS ABBA LEGACY

(Conlinved from page 10)

track, SNvedish-language release, which
contains a duet with Marie Fredriksson
of Roxette, has remained in the top 30
ever since, selling 95,000 copies, accord-
ing to Ledin, the label's managing direc-
tor and owner.

In addition to her famous parental
connection, Ledin is the wife of the vet-
eran Swedish artist who then provided
her new company with its second chart-
topping triumph last November. Tomas
Lean’s “T” album went on to be Swe-
den’s best-selling album of the year,
according to Ledin, with sales of
110,000 copies.

Between those two successes, label
discovery Uno Svenningsson hit big on
BMG with her “Doue” album, which has
sold some 60,000 units locally.

Ledin modestly remarks that Ander-
son’s releases have been limited to
Scandinavia thus far because of the lan-
guage barrier and because “I don’t
know' if anyone else is interested.” But
discussing the label’s plans, she adds,
“We are going to sign new artists, and
if they’re good enough in English we
will sign them. But I’m more interest-
ed in Swedish. It’s more personal.”
Signings due to emerge on Anderson
this year include local artists Lars
Demein, Jenny Ohlund, and Eva
Dahlgren.

Anderson’s success is a reminder that
there is more to the current Sw'edish
music industry than the oft-cited waves
of modern rockere, such as the Cardi-
gans and Popsicie, and singer/song-
writers, such as Sophie Zelmani and
Rebecka Tornqvist. In addition to
Frida’s time-honored popularity as a
member of Abba, Tomas I.edin has been
a recording artist since 1972, with a
wealth of Scandinavian hits to his name.
“This is the adult side of the market,”
says his wife.

“I think Swe<len today is just explod-
ing with talent,” says Tomas Ledin. He
believes that the country is strong in
modern rock output because “it’s a very

SCOTTY MOORE BACK IN

(Continued from page 9)

touring drummer — are completing an
album of original cuts with musicians
with whom they wanted to recoi*d. The
roster includes Keith Richards, the
Band, Jeff Beck, Ron Wood, the Mav'er-
icks, Steve E^arle, Joe Ely, the BoDeans,
Tracy Nelson, Cheap Trick, Joe Louis
Walker, a reunion of former members
of the Bill Black Combo, and Rcmnie
McDowell with the Jordanaires.

A film documentary is also being pre-
pared, and Moore has written his biog-
raphy, to be published by Simon &
Schuster in conjunction with the album
release in June.

Moore says that he picked up a gui-
tar |>erhaps twice after his 1968 retire-
ment, until 1992, when Carl Perkins
called him and coaxed him into playing
a Memphis gig. After w’alking away
from the Elvis machine in 1968^Moore
is careful to say that he simply wanted
a more secure future, but it is w'ell
know'n that he was not w'ell paid, and to
this day he does not want to talk about
Presley’s manager, Tom Parker —
Moore ran a tape-duplicating business,
recording studio, and printing shop in
Nashville and lived quietly in a log h<^se
in the country. His 1992 reunion with
Perkins resulted in two limited-edition
albums on his own label, now' highly
sought after by collectors.

“During all that time," Moore says, “I
did do a couple of overdubs for Carl
[Perkins] and for Billy Swan, but that
w'as it for 24 years.”

His re-emei^ence, says project direc-

American country culturally. We’re a
country that is very inspired by Britain
and America since World War II.”

Of the Shvedish pop industry that has
produced w'orldwide pop heroes from
Abba to Ace Of Base, he adds, “Abba
had an extremely big impact on the
business confidence here. They created
the feeling that it’s possible to do it”

Nevertheless, Ledin describes his
wife’s decision to start Anderson as
“quite a brave move. She’d been talking
about it for a couple of years, and it
grew' naturally. I’ve w'orked w'ith Marie
since the early '80s and apart from her
being my wife, I have quite a big expe-
rience of people at different companies,
so I know she’s one of the best people I
could w'ork with.”

Ledin adds that he w'orks his
Swedish-language releases in Norw'ay,
Finland, and Denmark, as well as at
home, and is planning a Scandinavian
tour this summer. He recorded some
English-language albums in the early
’80s and says that if he can find a suit-
able h'ricist, he may do so again.

Marie Ledin believes that many buy-
ere of “Djupa Andetag” (Deep Breaths)
are onginal Abba fans. Such die-hards
have h^ an exciting few' months in Swe-
den: Last fall also saw the Scandinavian
release by Columbia of “My Love My
Life” by Agnetha Faltskog, a 37-track,
double-CD compilation of the singer’s
favorite songs recorded before, during,
and since her time in Abba. Faltskog
also had a biogi*aphy published.

Frida w'as the only former Abba
member absent when Faltskog and
Bjorn Ulvaeus joined up at Benny
Andersson’s 50th-birthday party in
Stockholm Dec. 16.

‘They will never play together again.
I’m sure of that,” says Marie Ledin.
“They have different lives now'. Benny
and Bjorn are very involved in musicals.”
The cast recording of their “Kristina
Fran Duvemala” musical was released
locally last year by Mono Music.

tor Dan Griffin, was partly because of a
phone call from Richards to Moore.
Richards has often said that seeing
Moore perform w'ith Presley in the ’50s
inspired him to take up the guitar. Grif-
fin, w'ho runs I.D. Music Management
in Nashville and is backing the Kings
Men project w'ith
partner Eric Kro-
hel, says, “Keith
called Scotty dur-
ing the Stones’
Steel Wheels tour
and talked to him
about playing
again. Scotty went
FONTANA to 866 the Stones
and was im-
pressed.” Still, it took years for these
wheels to grind.

“We sat down and talked about who
he and D.J. would want to play with,”
says Griffin. “This w'as never going to
be a tribute album. It’s very much today.
The other artists were encouraged to
bring original material.” As a result, the
Mavericks brought an original I^ul
Malo/Al Anderson composition, Joe Ely
and Steve Earle came w'ith new songs,
and Moore and Fontana wrote with
Beck and Wood.

Griffin says approaching the other
artists w'as easy. “In most cases, it took
one phone call. And some people w'eren’t
able to schedule it who wanted to, like
Charlie Watts, Eric Clapton, and Elton
John. Mick Jagger called and wanted to
know why he wasn’t invited, so we may

Of “Djupa Andetag,” Frida’s first
album since “Shine” on Epic in 1984,
Ledin comments, “It’s a really good
album, first of all, and people recognize
her voice immediately. She’s been dis-
cussing [such a comeback] for very
many years, and she finally decided to
do it when she met Anders Glenmark,
who produced the album. She’s happier
doing a Sw'edish-language album. If
you’re doing international, you hare to
travel and do all this promotion.”
Nonetheless, Frida did conduct con-
siderable promotion for the album and
its first single, “Aven En Blomma,”
which became a radio hit in Norway
(her country of birth) and Finland. She

COL. TOM PARKER DIES

(Continued from page 18)

Thomas A. F^rker and/or Hank Snow
Attractions” on the other. The contract
called for Parker to act as “special advi-
sor” for one year for $2,500 w'ith two
one-year options. Further, “as a special
concession” to Parker, Presley was to
play 100 personal appearances in one
year for ^00 a show, musicians includ-
ed. A contract rider specified that if the
deal fell through, Parker would hare a
hold on Presley’s performances in 47
specified cities for $175 a date.

Then, on Nov. 20, Parker, Hill and
Range Songs, and RCA made the
$35,000 deal that moved Presley from
Sun to RCA. Neal w'as frozen out of the
agreement. In March 1956, Snow' and
Parker w'ent to the Presley home in
Memphis to persuade Vernon and
Gladys Presley to approve their son’s
signing with their agency (Elvis was a
minor and needed their approval). In his
memoirs, Snow recalled that they came
away with what he thought was a con-
tract with Hank Snow Enterprises-
Jamboree Attractions, but the contract
was in Parker’s pocket.

His suspicions w'ere confirmed, he

‘MEN’

do something with him yet.” Surpris-
ingly, he says, there were one or two
m^or artists who didn’t seem tb"know
who Moore and Fontana w'ere.

After being away from music for so
long, Moore fell into the groove imme-
diately and ended up producing all but
tw'o of the album cuts (the other two
being produced by Stan Lynch).

“What I’m proud of,” Moore says, “is
there’s gotta be a cut on there every-
body likes. That cut with Levon Helm
and Keith — they wanted to put every-
thing on it, saxophone, you name it.
We’re marrying a little bit of the old
with the new'.”

Griffin says the album will come out
in the U.S. on Sweetfish Records in
June. Sweetfish, an independent label
based in Ai^le, N.Y., was chosen, Grif-
fin says, because he, Moore, and
Fbntana wanted to eschew' m^or labels
in favor of control of the product. Grif-
fin and Krohel are still negotiating for
worldwide release rights for the album.

'The documentary Ls still in the edit-
ing stage. Griffin notes that tour plans
are still being discussed and that sev-
eral of the collaborating artists have
expressed interest in playing dates.

Rees Shad, an artist who founded
Sweetfish for his own releases and is
now branching out, says he is in negoti-
ations with several distribution compa-
nies. At this point, he says, radio is the
least of his considerations. “There are
four or five different audiences for this,”
he says. “We’ll see w'hat happens.”

also performed, with Tomas Ledin and
Lionel Richie, at a Swedish telethon for
children in Zaire and Rwanda Nov. 29.

The “Djupa Andetag” CD also con-
tains an interactive element, “Frida
Interaktiv,” for PC and Macintosh for-
mats, featuring biographical informa-
tion, the video for the single, interview’s
with the artist and producer, and
excerpts from a documentary proceed
by Sveriges Television, “Frida-mitt I
Livet” (In the Middle of Life) about the
51-year-old singer.

The album was produced at Abba’s
celebrated recording home in Stock-
holm, Polar Studios, which is part-
owned by Marie and Tomas Ledin.

wrote, and his lawyer advised him that
legal action w'ould be futile.

Once he w'as Elv'is Presley’s “sole and
e.xclusive adviser, personal representa-
tive, and manager,” Parker’s first more
W'as to w'rest control of Presley’s pub-
licity from RCA. All access to Presley
went threugh “the Colonel,” as he liked
to refer to himself.

There is no question that under Park-
er’s tutelage, PT'esley’s early cai'eer was
meteoric. Evei’j'thing w'ent right; every-
thing sold; the image was perfect; the
mystique nonpareil.

It was only later, after the career
became tattered and worn, that cracks
began to appear in the facade. Parker
had always tightly controlled Presley’s
career and life — to the point that I^rk-
er picked the guests for Presley’s wed-
ding and arbitrarily turned down Bar-
bra Streisand’s offer for Presley to star
in a remake of “A Star Is Bom.”

Parker also kept a tight lid on finan-
cial matters. It w'as generally known,
though, that he took at least a 50% com-
mission, along with rumored side deals,
and insisted that Presley allow' the IRS
to prepare his tax returns for him —
easily keeping him in the 90% bracket
(to prev'ent government suspicion from
falling on Parker). He routinely turned
dow'n seven-figure offers to tour abroad,
w'ithout telling Presley.

Parker wras a fixture in Las Vegas

SOUNDTRACK BOOM

(Continued from preceding page)

Hood” (Qwest), tw'o landmark sound-
tracks that each reached No. 1 on Top
R&B Albums.

The success of those albums inspired
several similar R&B-leaning sound-
tracks. As a result, the number of chart-
ing soundtracks rose from four in 1991
to nine a year later. By 1995, the number
of charting soundtracks had risen to 14,
with five going to No. 1.

Although only two soundtracks were
No. 1 on Top R&B Albums in 1996 —
Flavor Unit’s “Sunset Park” and Def
Jam’s “The Nutty Professor” — 17 made
the chart, w'ith sev’en making the top 10.

Since Jan. 1 of this year, two sound-
tracks have hit the top 10: Arista’s “The
Preacher’s Wife” reached No. 1, and
Atlantic’s “Space Jam” rose to No. 5.

The forthcoming crop of R&B-lean-
ing soundtracks promises to bring a
higher and wider profile to a number of
young artists.

Warner Bros.’ “Living Single,” for
one, will put the spotlight on labelmates
Benet (a vocalist) and James (a saxo-
phonist).

Says Warner Bros, black music divi-
sion president (U.S.) Denise Brown,
“This will give Eric added exposure as
we continue to work his album [‘True

Marie began her career at sister label
Polar Music before launching the suc-
cessful label the Record Station in 1987.
At the turn of the ’90s, it was purchased
by BMG, for w'hich she w'orked for six
years before founding Anderson.

As for her father, Ledin says that he
has been “pretty much retired” since
selling Polar Music and sister publish-
ing company Sweden Music to Poly-
Gram.

But he is unable to completely shake
off the pop bug. “He’s just found a girl
that’s excellent, she sings in English; I
got the tape today,” Marie Ledin says.
“So he’s still interested in the business.”

casinos, and itw'as said to be gambling
debts that led him to sell Presley’s
record catalt^ to RCA for $5.4 million
in 1973. Parker got half.

It wasn’t until after Vernon Presley’s
death in 1979 that financial details
began to emerge. The Presley estate
principals wanted Parker to continue
managing the estate. Probate Judge
Joseph Evans was expected to rubber-
stamp the agreement, but he was
amazed to discover that Parker contin-
ued to receive 50% of the estate’a
income. He appointed Memphis attor-
ney Blanchard Tual to be financial
guardian to Lisa Marie Presley, to
w'hom the estate would one day go, and
to investigate Parker’s financial deal-
ings with the estate.

What Tual found led Judge Evans to
Order cessation of any payments to
Parker, and he ordered the estate to file
suit against Parker for improper finan-
cial management. Parker countersued,
dragging out the suit. The revelation
that he w'as not a U.S. citizen put the
court’s jurisdiction in jeopardy. The
estate ultimately agreed to a settle-
ment, and Parker no longer had any
association w'ith the estate. In 1990,
Graceland bought Parker’s extensive
files and collection of memorabilia.

Parker retired to Las Vegas, to gam-
ble and to work on his memoirs. He is
survived by his wife, Loanne.

To Myself’]. In Boney’s case, because
it’s a vocal track, w^e hope to expose him
to a broader audience at black radio.”

Jive soundtracks and licensing man-
ager (U.S.) Toi Green says that Joe’s
yet-to-be-determined track on “Booty
Call” will help gain awareness among
consumers in preparation for the
artist’s debut Jive set, scheduled for
early spring.

“Everything,” Joe’s last album, w'as
released in 1993 and featured “I’m In
Luv,” W’hich peaked at No. 10 on Hot
R&B Singles.

“It’s amazing that he continues hav-
ing such a strong vibe after all this
time,” says Green. “Having a hit on the
[‘Don’t Be A Menace To South Central
While Drinking Your Juice In The
Hood’] soundtrack was a big help.”

That track, “All The Things (Your
Man Won’t Do),” peaked at No. 2 on Hot
R&B Singles in 1996.

“From a production standpoint,
things really skyrocketed for me after
I [wrote, produced^and recorded] that
song,” says Joe.

“Being on the ‘Booty Call’ soundtrack
will go a long way in keeping him in the
mix until we begin \vorking his solo pro-
ject,” Green says.

STUDIO FOR SWEETFISH’S

FONTANA

BiaBOARD FEBRUARY 1 . 1 997

Picaammina

RADIO*PROMOTIONS*NETWORKS*SYNDICATION*AIRWAVES*MUSlC VIDEO*VIDEO MONITOR

U.K. Gets 1 St Alternative Rock Outlet

London^s Last FM License Awarded To Xfm

TWO Of These People Are Mice. Displaying cheese^ating grins during KIIS-
FM Los Angeles’ recent party at Disneyland, from left, are Ariel Hernandez of No
Mercy, Minnie Mouse. Donna Lewis, KIIS personality Rick Dees. Merril Bain-
bridge. Mickey Mouse, and Marty Cintron and Gabriel Hernandez of No Mercy.

Tim story was prepared for Bill-
board by Mike McGeever, a corre-
spoJident tvith Billboard sister p'ltb-
lication Mmic & Media in London.

LONDON — Great Britain, the coun-
try that has given the- world so much
alternative music and Britpop, final-
ly has a full-time radio station devot-
ed to playing it.

Buoyed by unprecedented support
from the U.K. music and record

Radio Stations Find Ceiebrity Connection

WWl Service Gives Access To Small, Medium Outlets

BY DOUG REECE

LOS ANGELES — Often neglected dur-
ing superstar press tours, radio stations
are finally getting exclusive access to
show-biz greats via Westwood One Radio
Networks’ Celebrity Connection.

The programming feature, which
allows stations to conduct live satellite
interviews with music, film, and TV stars
ranging from Tom Hanks and Danny
DeVito to Vince Gill and Bill Wyman, is
becoming increasingly popular with both
stations and the stars themselves.

Comedian Judy Tbnuta, who guested
on the OcL 1 1 Celebrity Connection, held
at the National Assn, of Broadcasters
radio convention in Los Angeles, quips
that the appeal lies in startling her unwit-
ting radio counterparts.

‘The great thing about dc^ this is that
I know I’m going to be funnier than the
DJs,” Teraita says. “No matter what they
think, they are always the straight men.”

Eric Lutes, a co-star of NBC’s “Caro-
line In The City," takes a different view
on the experience. “The gi'eat thing about
doing these is the irreverence of the radio
guys. It’s not nearly as dry as my other
interviews,” he says.

“I did an interview with someone
whose program was called ‘Woody In
The Morning,’ and we were joking
around with the title of the show. It was
like, ‘Hey, I w”dke up with Woody every

morning too, and so does my wife,’ "
Lutes says.

While large-maricet radio stations and
most television programmers can use
their pull to comer celebrities, and print
media can draw upon an abundance of
star-filled wire stories, mid- to small-
market radio programmers have not had
such access to Hollywood.

Those days, says Westwood One VP of
programming Denise Oliver, are over.

PROMOTIONS
&. MARKETING

“We had been running this program —
called ‘Interactives’ — on our rock station
affiliates since 1989, and it became so
popular that we decided this year that we
w'ould expand into other formats,’’ she
says.

“The draw comes from having great
interviews that sound like they are in the
programmer’s market and that give
everybody a chance to improve their pro-
gramming and build listenership,’’ she
says.

Triple-A KLRQ Kansas City, Mo., PD
Ken Dillon says the station has inter-
viewed Donovan, Elddie Murphy, and Dr.
Ruth via the Westw'ood program.

“Other than how good it sounds on the
satellite feed, it gi\'es us a degree of tal-

ent that we would not be able to get on
our own, at least not without making a
million phone calls," Dillon says.

“Some stations try to play it off as if
the star is in the studio,’’ he ^ds, “and it
can be done. We just choose not to."

Another component in the program’s
success, Oliver says, is its logistical ease.
During a two-hour session at either of
Westwood One’s New' York or Los Ange-
les offices, celebrities can perform a
series of 10-minute interviews with sta-
tions across the country'. E^h station uti-
lizes its own talent and one-on-one dis-
cussions with the celebrity via satellite
technol(^, which allows for a more local-
sounding interview The star, meanwiiile,
promotes his latest vehicle in more than
a dozen markets without leaving his or
her seat

The interview opportunities are
offered to Westwood One affiliates at no
cost Still, the network does attempt to
make sure talent and station matches are
appropriate.

“Paul Anka at oldies and Randy
Travis at countrj' stations are more obvi-
ous choices," says Oliver, “but we also
have i)eople, such as Miss America, who
are moro appropriate for an AC station
than a rock station.”

Westwood One relays interview high-
lights to its moro than 1,100 affiliates the
following daj' as part of its satellite-deliv-
ered Entertainment New'sfeed.

industries — and even rival broad-
casters — Xfm, London’s first-ever
alternative music broadcaster, w'as
awarded the market’s last terrestri-
al FM license by the Radio Authori-
ty Jan. 16.

In the U.K.,
radio station ap-
plicants must
apply for a com-
mercial license.

The services are
awarded by the
Authority based
0 n criteria set parry

by legislation.

The regulator claims that no more
FM frequencies are available in
London.

According to Sir Peter Gibbings,
chairman of the Radio Authority,
“Making this license aw’ard for Lon-
don has been among the Authority’s
most difficult tasks. However, we
believe this new station will be a
popular addition to the already rich
diversity of commercial broadcast-
ing in Greater London."

ONE OF 25 APPLICANTS

Xfm, in its third attempt to secure
a license in the U.K.’s largest and
most lucrative market, was chosen
from a field of 25 applicants, includ-
ing return bids from Paris-based
broadcaster NRJ, Capital Radio,
BBC Radio 1 FM breakfast presen-
ter Chris Evans’ Ginger Produc-
tions, Atlantic 252 (CLT U.K. Radio),
and a gay-oriented service support-
ed by Elton John.

CLT, part of CLT UFA-Europe’s
largest broadcasting group, has a
15% stake in London’s newest and
last entrant in the fierce battle for
London listeners. Xfm has staged
five monthlong temporary broadcasts
in London over the past five years.

Xfm managing director Chris
Parry largely credits the U.K. music
industry wdth pushing the compa-
ny’s ambitions over the top. "This
w'hole thing is about support from
the music industry,” says Parry, also

manager of longtime alterna-rock-
ers the Cure. He also credits initial
interest in the format from “grass-
roots people who really loved the
idea of what we have been trying to
achieve.”

Xfm PD Sammy Jacob adds, “At
last, London will hear music that it
should have been hearing for the past
13 years. We have our priorities. We
can be a public service broadcaster
and be concerned about profits.”

Although enthusiastic about the
news, Sony Music U.K. VP of com-
munications Gary Farrow adds a
word of caution to his praise: “This
is what the whole of the record
industry wanted. It is fantastic
news. Let’s hope they stick to their
original ethos.”

ALTERNATIVE TARGET

London’s newest broadcaster will
target the 15- to 34-year-old age
group with “specialist alternative
rock music," according to its appli-
cation. Xfm should be able to reach
about 5.9 million Londoners (ages
15-plus) when it becomes a more
permanent fixture on London’s
radio landscape. Parry says Xfm
hopes to hit the airw'aves Sept. 1.

The outlet faces competition from
the likes of market leader top 40
95.8 Capital FM/CHR, mainstream
rock Virgin 105.8 FM, AC Heart
106.2, and dance outlet Kiss 100 FM.

What it no longer must compete
w'ith, however, are scores of other
applicants vying for a historic place
along London’s radio dial. NRJ pres-
ident Jean-Paul Baudecroux, who was
behind Energy FM’s bid for a license,
was surprised by the Xfm news.

“Once again, CLT wins,” says
Baudecroux, who admits being “very
disappointed — all this money spent
with no result. We knew it would be
difficult, but we were moderately con-
fident.”

Like Xfm, NRJ’s latest bid was the
French radio group’s third to win a
London license. “One day, we will be
in London,” he says.

Experience The Power!

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guide to radio and record promotion — THE POWER BOOK —

Fall 1996 Edition

The most important tool for music, radio and promotion executives to use every day!
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BILLBOARD FEBRUARY 1 , 1 997

Foriilt

Billboard, FEBRUARY 1, 1997

lult Contemnopapv

WK.

_i5

WKS.

S>tM

TITLE ARTIST

LABEL & NUMBER/PROMOTtON LABEL

★ * * No. 1 ★ ★ ★

UN-BREAK MY HEART ♦ TONI BRAXTON

LAfACE >4:lLKIA1LSIA 5 'aw*s a\ No. I

WHEN YOU LOVE A WOMAN ♦ JOURNEY

i.'jlLI/BlA

I FINALLY FOUND SOMEONE ♦ BARBRA STREISAND & BRYAN ADAMS

COLtr.'B^a 'S-!-'’

I BELIEVE IN YOU AND ME ♦ WHITNEY HOUSTON

ARISTA

IF WE FALL IN LOVE TONIGHT ♦ HOD STEWART

IT’S ALL COMING BACK TO ME NOW ♦ CELINE DION

550MiJS!(.

CHANGE THE WORLD ♦ ERIC CLAPTON

RtPRis- ;

I LOVE YOU ALWAYS FOREVER ♦ DONNA LEWIS

FLY LIKE AN EAGLE ♦ SEAL

;TT WA>;‘.iR Sl.\.'tr li.’fMnAI.AMK

Q®

I’M NOT GIVING YOU UP ♦ GLORIA ESTEFAN

EPiC

STILL IN LOVE LIONEL RICHIE

M£RCUR'‘'AiiuiU':.r

100 YEARS FROM NOW ♦ HUEY LEWIS & THE NEWS

ELEKlRAA^HU/UTEtC;

YOU CAN MAKE HISTORY (YOUNG AGAIN) ♦ ELTON JOHN

r.iCA

LET'S MAKE A NIGHT TO REMEMBER ♦ BRYAN ADAMS

A&M 58186:-

BECAUSE YOU LOVED ME ♦ CELINE DION

550 MUSIC '8? 57

★ ★ *Airpower* ★ ★

DON’T SPEAK ♦ NO DOUBT

TRAUMA A66UM CUr/INJ[»SCOPr

★ ★ ★ AlRPOWERIkr ★ ★

FOR THE FIRST TIME KENNY LOGGINS

COLUMBIA ALBUM CUT

NOBODY KNOWS ♦ THE TONY RICH PROJECT

LAFACE 24U5'ARISTA

G®

THROUGH YOUR HANDS DON HENLEY

REVOLUTION Album C'JT

GIVE ME ONE REASON ♦ TRACY CHAPMAN

fifktra fi.vv.RrFr.

NEW^

* ★ ★ Hot Shot Debut ★ ★ ★

VALENTINE JIM 8RICKMAN

WINDHAM HIU AIBUU CUT

THE MOMENT ♦ KENNY G

ARISTA :3:co

SEND ME A LOVER CELINE DION

MMI ALBUM CUT

1 GO BLIND HCHDTIE & THE BLOWFISH

REPRISE ALBUM CjT

YOU MUST LOVE ME ♦ MADONNA

WARN-R I

Adult Top 40

★ ★ ★ No. 1 ★ ★ ★

OONT SPEAK 4 NO DOUBT

TRAUMA ALBUM CUT/TNTERSCOPC 6 wwts at No. 1

I GO BLIND HOOTIE & THE BLOWFISH

REPRISE ALBUM CUT

HEAD OVER FEET ♦ ALANIS MORISSETTE

MAVERICK ALBUM CUTREPH’SE

LOVEFOOL ♦ THE CARDIGANS

STOCKHOLM ALBUM CUT/MERCURY

UN-BREAK MY HEART ♦ TONI BRAXTON

LAFACE 2420G’ARISTA

IF IT MAKES YOU HAPPY ♦ SHERYL CROW

AAM 581874

IT’S ALL COMING BACK TO ME NOW ♦ CELINE DION

SSO MUSIC 78345

WHEN YOU LOVE A WOMAN ♦ JOURNEY

COLUMBIA 7S428

COUNTING BLUE CARS ♦ DISHWALLA

A&M 581462

(3®

YOU WERE MEANT FOR ME ♦ JEWEL

ATLANTIC 87021

BARELY BREATHING ♦ DUNCAN SHEIK

ATLANTIC 87027

CHANGE THE WORLD ♦ ERIC CLAPTON

REPRISE 1762!

1 LOVE YOU ALWAYS FOREVER ♦ DONNA LEWIS

ATLANTIC 8/072

FLY LIKE AN EAGLE ♦ SEAL

ZTTWARNER SUNSET 87046'ATUNTlC

MOUTH ♦ MERRIL BAINBRIDGE

UNIVERSAL 56018

Q®

* ★ *AlRPOWER* ★ ★

A LONG DECEMBER ♦ COUNTING CROWS

DOC ALBUM CULGEf FEN

GIVE ME ONE REASON ♦ TRACY CHAPMAN

ELEKTRA 64346.tEG

KEY WEST INTERMEZZO (1 SAW YOU FIRST) ♦ JOHN MELLENCAMP

MERCURY 578398

JUST BETWEEN YOU AND ME ♦ DC TALK

VIRGIN 38575

LET'S MAKE A NIGHT TO REMEMBER ♦ BRYAN ADAMS

AAM 531862

WHERE DO YOU GO ♦ NO MERCY

ARISTA 132:0

1 FINALLY FOUND SOMEONE ♦ BARBRA STREISAND & BRYAN ADAMS

COLUMBIA '8-580

Q®

1 BELIEVE IN YOU AND ME ♦ WHITNEY HOUSTON

ARISTA 1.1293

CM)

DON’T LET GO (LOVE) ♦ EN VOGUE

• AST'.vESTe-t:3i EEC

Q®

DON’T CRY FOR ME ARGENTINA MADONNA

'.VARNER BROS. ALBUM CUT

<tatn««r«dcctrarKalh'nKntot«2atwunacU^i 7i%S4iM». £j^f»n>*atvnwit»«a M iC Wnt .QTtxltttfwi<^iriint»»»M«>W>»ciCMff<<r
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4xtratn>tim» € 1997, BMC«»<aePlCpmmuAC4*on}.

FALL ’96 ARBITRONS

12-plus overall average quarter hour shares (it) indicaiss Arbitron market rank
Copyright 1997, Arbitron Ratings Co. May not be quoted or reproducexi ivithoui
the prior ivritten perm ission of Arbitiwi

Call

Format

'95

'96

•II

'96

DALLAS/FT. WORTH— (7)

XKOA-FM

R&B

4.6

5.4

5.7

6.3

6.2

XMKS

lop 40

5.6

5.7

5.9

6.1

5.6

4.7

6.0

4.7

4.6

4.9

5.4

4.9

uses

country

5.5

4.9

KEGl

altwfn

3.9

4.6

3.8

4.0

KPU

country

3,9

4.4

4.3

3.8

4.9

KBLO

3.6

3.7

4.1

4.3

4.0

XYNG

country

4.8

4.9

4.8

3.8

KOAJ

ISO

4.2

3.6

3.4

3.5

3.7

KOMX

2,7

2.8

3.9

3.7

RUIV

oUin

3.9

4.0

3.4

4.2

3.6

KRBV

R&B adult

5.0

4.2

4.6

3.6

UPS

chrock

2.8

2.2

2.6

2.5

3.0

WRR

claspcal

1.8

2.1

2.2

2.7

2.1

KTCQ

album

3.3

4.0

2.7

KOBE

modem

3,5

3.6

3.2

3.1

2.5

KUY

reigious

2.7

2.6

2.9

3.3

2.5

KUF

2.5

2.3

2.6

2.3

2.4

KTCK

sports

2.0

2.1

2.3

2.4

KESS

Spansli

1.1

1.7

1.8

2.2

UftW

dsroci

2.6

2.9

2.2

2.7

2.1

KHCK/na-FM

Spanish

2.0

1.6

RMVN

rdrpous

1.6

1.9

1.2

1.5

KRNB

R&BaduH

—

aduKsM

1.5

1.1

MMWUi

R&Badull U U

HOUSTON— (9)

1.0

1.1

Ksn

R&B

6.7

7,2

7.5

7.0

7.7

KHMX

4.5

4.6

4.9

KOOA

6.0

7.5

6.2

5.4

KRBE

top 40

4.6

4.2

4.5

MUQ

R&Badun

5.7

5.2

6.0

KKBQ-AM-FM

cowtry

5.2

5.4

4.7

KOUE

adults

5.6

5.0

5.1

4.1

KTm

4,9

4.6

3.7

4.6

KILT-FM

country

5.6

4.6

KIAE

oldies

4.1

4.0

4.3

3.6

KPRC

N/I

3.0

2.8

3.1

RTB2

modem

3.1

2.8

3.1

3.5

KIOL

album

3.5

3.4

cdsrodi

2.4

3.5

3.7

RLTN/XLTO

Spaneh

3.4

2,7

3.t

3.9

KIKR-FM

ccwitry

3.1

3.3

3.5

KQM

Spanish

2.5

3.2

2.7

wrs

jan

2.1

1.8

1.5

RUT

Spaneh

1.7

RSEV

1.0

Spanish 1.6 1.2

MIAMI— (11)

WPOW

top 4<Vrtiythm

5.2

5.6

4.9

WEM

6.0

5.7

WHQT

RUaduR

5.1

4.3

WRMA

Spanish

4.8

5.4

WAMR-FM

Spanish

4,7

5.2

4.6

MYF

5.1

5.4

4.4

wnu

Spanish

4.1

3.0

3.2

3.0

MNUH

Spanish

4.0

4.7

WHVI

top 40

3.5

3.6

4.0

3.8

MMXl

ctfes

3.1

3.9

WIOD

3.4

2.6

3.4

WZTA

aBwm

3.2

3.3

3.7

3.9

wns

country

3.3

3.6

WUTE

i*a

2.8

3.5

3.0

WCMQ-FM/WZIM

Spanish

1.6

1.5

2.1

2.2

WFIC

3.6

2.7

WTMI

classical

3.1

2.7

WQBA-W

Spattish

2.5

2.6

2.3

MW6

dsrodi

2.6

2.5

WCm-HM/WSRP

Spanish

2.9

2.8

2.7

W1NZ

2.1

1.9

1.7

WPli

2.0

1.6

2.1

2.6

woiui

sports

1.4

1.8

1.7

WSUA

Spanish

1.0

1.7

1.3

1.7

WRTO

Spanish

1.4

muM

reteous

1.7

1.0

1.1

imvs

ethnic .8 .8

ATLANTA— (12)

WVEE

R88

9.8

9.6

9.4

10.4

WSS-AM

H/T

6.9

8.0

102

Wm-FH

country

9.0

8.7

9.0

WPCH

6.7

6Si

5.9

miR-AM-FM

R&B adult

5.3

4.6

5.8

6.5

WSTR

top 40

6.1

5.1

wNn

R&B

3.9

5.4

4.7

5.0

WNNX

modem

6.0

5.7

4.9

5.0

WRLS

altium

4.9

3.9

5.0

5.2

4.9

WSB-FM

5.6

5.1

4.7

country

3.4

3.0

3.6

oldies

4.2

4.5

5.0

4.8

3.9

WBST-AM-FN

K/I

4.4

5.0

4.1

3.9

WZ6C

dsrock

3.6

3.1

WJ2F

jan

3.4

2.7

NIUIR

reigiovs

2.0

2.1

1.9

2.5

wem

sports U 1.0

SEATTLE— (13)

1.0

KIRO-M

8.8

5.6

7.1

7.6

mpsw-Fii

ooteitry

5.0

4.6

5.4

6.0

RUBE

top40Attythm

6.1

6.6

5.7

5.3

5.0

5.5

4.7

RBSC-AM-FM

ohhes

5.4

5.9

5.0

5.5

dassicai

4.0

3.8

4.1

4.7

Rua

adult std

4,3

5.7

3.6

4.7

RISW

album

3.6

3.4

4.1

3.5

UOK

dsrock

4.2

4.4

3.8

RWO

modem

4.5

5.1

4.3

RLST

3.7

3.4

3.7

4.0

3.6

ROMO

3.7

3.9

3.1

RPLZ

4.0

4.7

3.6

RTCW

owntry

3.0

3.4

4.6

3,4

UR-FH

7(FsoM«S

4.1

4.7

3.6

3.5

Run

trip*e-A

3.3

3.1

Call

Format

'95

'96

•II

'96

RRWM

2.9

2.7

2.0

2.9

RRPM/KBRS

1.8

3,0

2.6

RiRO-FM

2.1

2.5

RWiZ

tea

2.2

2.5

2.3

2.9

RIR-AM

sports

2.9

1.8

2.0

KCMS

tdtgMUS

1.6

1.9

1.4

1.6

1.8

RNWX

1.0

MINNEAPOLIS/ST. PAUL— <16)

WCCO

13.1

13.3

10.5

114

12.3

RQRS-AM-FM

album

10.8

10.6

11.6

120

113

RDW6

top 40

7.0

7.8

8.0

7.5

WLTE

6.4

6.2

4.9

REGE-FN

modem

5.3

6.0

REEY

countiy

6.1

RSIP-AM

5.5

5,1

RSTF-FM

6.1

KQQL

ottes

3.8

4.1

W80B-FM

country

4,7

RrCJ/KTC2

tnple-A

3.1

4.0

4.7

3.8

4.0

RMJZ

lau

2.7

3.0

2.4

RLBBAVLOL

adult std

1.9

2.0

1.8

RFAN

sports

1.5

1.6

1.5

2.1

RREV/WREV/XCFl mpdem

1.8

1,7

1.7

ST. LOUIS— (17)

RNOX

144

14.1

161

132

160

RHIM

R&B

6.8

7,1

WIL

country

9.3

8.3

7.8

KE2K

7.0

7,3

6.9

6.7

RYRT

5.3

4.5

5.6

5.9

KPMT

modem

4.8

4.4

5.0

RSHE

atoum

6.4

5.6

6.0

RLOU

oldies

4.0

3.9

4.7

3.7

4.0

WRBQ-AH-FN

top 40

4.2

4.6

3.9

WRRX

country

4,2

3.9

3,1

WVRV

tTple-A

1.6

2.6

IQMT

dsrock

2.9

RSO-FM

atoum

2.7

3.5

KFUO-FM

dassKal

2.7

2.6

noR

R&B adult

3.1

3.0

2.7

vmTM

adult std

1.9

3.0

2.8

RSD-AM

1.3

1.1

1.8

WBV

1.0

2.8

RAn-FM

R&Badull

1.0

1.6

1.8

VrCBW

religious

1.3

1.2

1.7

WEW

1.2

1.0

RFNS

1.2

1.0

PHOENIX— (18)

KTAR

8.0

7.6

7.1

RMU

country

5.8

6.6

6.7

7.6

ROT

adult std

5.8

5.6

4.5

RNIX

country

5.7

7.6

$.6

RXFR

top 40/rtiythm

7.0

7.1

RFYI

6.2

4.7

6.1

ROOL-FM

oldies

5.0

RVPO-FM

atoum

5.0

4.5

3.5

4.0

RES2

3.2

3.5

KORB

aAwn

3.3

3.5

4.1

3.4

RZZP

2.5

2.6

3.9

KEOi/UIGT-FII

midem

2.7

3.9

4.0

KSU-AM-FM

dsrock

3.8

3.6

3.2

XTOT

jazz

4.1

3.7

RZON

modem

2.7

3.8

RRLT

3.5

3.7

3.4

4.3

KKTC

‘TO'sddNs

2.5

RMQ

coiffltry

—

1.0

KOU

lazz

2.1

1.0

RI2R

top4Q/rtiythm

R6IK

sports

1.1

PtTTSBURGH— (20)

RDRA

)4.3

144

168

12,7

126

WOVE

album

8.4

8.6

9.2

9.5

9.4

WDST-AM-fM

country

8.3

7.7

7.8

8.1

7.9

WBZZ

top 40

WWSW-AK-FM

oldies

6.7

6.9

WiAS

aduRsid

4.3

4.0

3.9

5.1

WXDX

modem

1.7

1.9

2.8

5.8

5.0

WSHH

5.1

4.9

4.1

WUE

IVT

3.6

3.9

3.8

3.9

WYn

4.0

3.9

will

|az2

3.4

4.1

3.0

4.0

3.0

WUJ

4.4

3.7

3.6

3.1

WMO-FM/WSU R&B

4.9

3.4

WRRR

dsrock

3.0

2.2

2.7

W2PT

dsrock

3.6

woRO-ni

religieus

1.1

1.2

IMSP-FM

counuy

1.4

1.0

ROV

1.4

1.3

1.1

TAMPA, FLA.— (21)

WFU

top 40

7.8

7.5

7.9

WaYR-FM

country

7,9

7.3

7.7

7.9

WFU

4,7

WMV

adult std

6.7

6.6

6.5

WWRM

4.3

WR8Q-FII

covitry

WXTB

album

5.3

5.5

wnni

oktes

3.9

4.0

WGUL-AM-FH

adult std

5.7

6.1

4,7

4.0

WDAE/WURS

4.9

3.7

4.1

WCOF

'7(7$ oldies

3.0

3,3

4.0

WinX-AII-FII

6.0

6.4

4.5

4.0

wsn

fkzz

3.9

3.5

4.5

4.0

WHPT

tnde-A

4.0

4.5

3.3

WLW-FM

aduilstd

2.5

1.5

I.G

WRBQ-AM

R&B adult

1.6

wnr

dsrock

2.4

1.9

2.0

WTMP

R&B adult

1,7

1.0

wzni

sports

WSUN

1.0

1.4

CLEVEUND— (22)

WZAX

RSB

9.0

7.8

8.5

WGAR

country

7.7

8.9

9.3

WMJI

oldies

7,2

7.7

Fa W Sp Su Fa

WRMR

aduRsld

6.3

6.0

WNCX

dsrock

WOOR

7.1

7.5

5.6

5.7

WMMS

modem

6.0

5.4

WQAL

5.1

6.0

WTAM

3.9

4.9

4.6

4.7

WZIM

top 40

4.5

4.7

4 7

4.4

WXNR

sports

2,7

5.2

WKWV

jan

4.0

3.5

5.1

3.9

WITF

5.6

4,7

4.6

3.7

WCIV

dassted

2.6

3.0

2.4

3.0

WENZ

modem

2.2

2.1

WJMO

R&B oldies

2.2

WONE-FM

aKwm

1,2

1.4

1.3

WABQ

rdWous

1.4

1.2

DENVER—

(23)

RYGO-FM

axmtiY

8.8

8.6

8,7

8.9

10.0

ROA

9.0

6.9

7.7

HOSI

6.1

5.7

5.6

RHIK

3.6

4.0

5.0

KRHR

dsrock

—

4.7

KAIC

top 40

4.6

KBCO-FM

Irgie-A

4.2

3.6

4.5

nxL

ddies

4.6

4,7

4.5

KRFX

cisrak

6.3

4.7

4.1

RBPI

atoum

3.2

4.2

5.3

3.0

WOW

2.7

2.8

3.3

RJMM

top4CVTtiythm

1.9

2.6

3.3

REZW

adult std

2.5

2-4

2.7

3.1

RVOO

classical

3.3

2.6

3.1

RQRS

top 40/rtiythm

4,7

3.6

KXPR

modem

3.6

4.0

3.6

IQMN-FM

'70's oldies

3,7

4.0

3.3

WHT

lop 40

3.2

RV60-AM

csuntiy

1.4

1.6

1.4

UOA

Spanish

—

1.7

RRFN

sports

1.8

1.1

RTCl

modem

1.1

KDRO

R&BaiM

PORTLAND,

DRE.— (24)

KKRZ

top 40

6.1

7.3

7.7

KXL-AM

7.1

6.3

5.9

7.4

KWJJ-FN

(puniry

7,1

mew

5.6

7.1

6.1

7.1

REX

5.8

3.6

XUPL-FM

countiy

6.2

RUFO

atouffl

4.6

5.5

5.4

RGON

dsrock

4.1

5.3

4.7

RR$N-FM

ddes

4.9

4.1

6.1

5.7

4.9

RiNR

trvto-A

4.6

4.4

4.1

3.0

RB6T

1.2

1.7

HKRH

dsrock

3.4

3.1

3.5

HJUZ

4.0

3.7

3.0

KRSN-AM

adult sW

4.2

WRR

modem

3.8

4.4

RXL-FM

1.9

KOTX

1.6

1.9

1.6

RPOQ'FM

rekpous

1.3

1.2

1.6

1.4

KWU-AN

counby

1.1

1.4

1.7

CINCINNATI— (25)

WUBE-FH

cmrAy

8.9

9.9

8.6

8.1

0.9

WON

atium

9.0

10.3

WLW

110

10.3

11.0

9.5

WKRO

top 40

5.1

W6RR

oldies

5.5

5.9

WtZF

R&B

5.4

WCRV

4.5

5.6

WRRM

4.6

5.5

5.3

4.1

won

dsrock

4.0

3.6

3.4

WS&I

adult std

3.6

4.6

4.2

4.1

WT8T

country

3,7

3.5

jan

5.0

4.4

3.5

3.9

WWNR

3.6

WAQZ

modem

2.6

1.9

WARW

rekffous

1.4

WHRD

country

1.1

RIVERSIDE, CALIF.— (26)

RFR6

country

9.5

8.9

11.3

RFl

9.4

7.9

8.7

6.7

R66I

lop40/Ttiythm

6.1

NOU

oldies

3.9

4.9

5.0

RIBT

R&B

3.6

4.9

ROST

3.4

3.7

3.1

RIWV

jas

1.7

2.4

RLOS

atoum

3.5

2.7

KVM

Spamjh

4.9

3.1

RnSFM

top 40

2.3

2.1

RWRP

easy

RLYE

Spinidi

1.6

3.0

1.7

KPWR

top4Qhtiy1hm

2.2

2.1

KROO

modem

2.0

1.7

2.7

2.1

1.7

RC8SFII

dsrock

3.2

2.6

RRTH

oldies

2.6

RCAL-FH

album

2.4

RNX

2.4

2.1

1.7

HOOJ

country

1.4

1.3

1.0

KXX

modem

1.7

1.9

1.3

RRGO

1.2

KRU-M0-F1I

reH0Oia

1.0

lUC

adult std

1.4

2.0

XEIRA-AM

sports

RZU

cowtry

1.1

KANSAS CITY— (27)

IPRS

R&B

7.6

7.9

7.1

0.4

KFKF

countiy

7.5

7.7

7.1

WOAF

countiy

7.8

8.4

6.9

XCFX

dsrodi

7.1

7.0

KORC

album

5.6

6.2

KBEQ-FN

countiy

5.9

6.3

RM9Z

4.9

5.2

non

top 40

4.0

4.6

KCMO-FM

oides

4.9

4.5

5.4

KCIY

jaa

4.1

5.6

KCMO-AM

3.6

4.1

4.2

UTN

5.6

5.0

3.1

RYTS

album

4.5

4.8

4.5

OIDl

4.0

nTR

dassxW

3.3

3.1

KISF

modem

2.5

2.6

RFCZ

aduilstd

1.9

KPRT

reloous

1.7

RCTE

sports

BILLBOARD FEBRUARY 1 , 1997

Copyrighted materia!

BY BRADLEY BAMBARGER

S taring at the phone, waiting for it to ring.
WeVe been there. Soul Coughing mouthpiece
M. Doughty’s been there. “By the phone/I live
in fear” goes his line on telephobia in “Super Bon
Bon.” Elucidating, he says, “You know' how you can
be incredibly anxious that someone isn’t going to call,
and then at the same time be incredibly frightened
that the phone is going to ring — and what are you
going to say when it does? ‘Super Bon Bon’ is just one
of those paranoid love songs.”

No. 30 on Modern Rock Tracks — and the second
chart hit from Soul Coughing’s “Irresistible Bliss,” the
New York groove sensation’s sophomore Slash/Warn-
er Bros, album — ‘^uper Bon Bon” and its neurotic nar-
rative are buoyed by an impossibly fat bassline. And if
you think the band’s soimd is a moveable feast now, wait

until the next record. Doughty is residing in London
between gigs, hanging with his girl, coursing through
clubland, and developing a taste for drum’n’bass.

“Dance culture over here is a lot more interesting
than all the turgid, post-grunge anthems on U.S.

»11 ttbout
EcstaHy, tlie
inoment, and thos«
crazy beats.**

— M. Dou9hty of Soul Cou9hlR9

radio,” Doughty says. “In London clubs, it’s all about
Ecstasy, the moment, and those crazy beats — you can
hear amazing music one night that you’ll never hear

again. The caily similar situation at hcHne is with bands
like Phish and all the hippies at the shows getting
fucked up and dancing around. It’s weird, but fans of
those kinds of bands — Phish or Medeski, Martin &
Wood, who improvise — have something in common
with kids here who are into DJs and dance music. They
all just want to go out and experience something new,
listen to music that they’ve never heard before.”

Soul Coughing is playing some U.K. shows with
Tricl^, and Doughty has been experimenting with new
loc^ gleaned from his late-night jaunts. And, although
he is clear on Soul Coughing’s roots in rock (“it’s our
folk music”). Doughty says the drum’n’bass influence
should find its way into the grooves of the next album.
“I can’t promise how, of course. It might just end up
sounding like Led Zeppelin’s take on reggae.”

Blllboatcl«, FEBRUARY 1, 1997 Billboards FEBRUARY 1, 1997

dor

n Rock Tracks

rv) S

i/>

TRACK TITLE ARTIST

ALBUM TITLE (IF ANY! LA8EUPR0M0T1ON LABEL

★ A aNo. 1 ★ a a

DISCOTHEQUE } www at No. l ♦ U2

POP ISLAND

#1 CRUSH GARBAGE

•ROMEO + JULIET SOUNDTRACK CAPiTOt

NEW^

★ ★ ★AtRPOWER* ★ ★

LAKINI'S JUICE ♦LIVE

SECRET SMUHOI RAOtOACTtVEMCA

THIRTY-THREE ♦ THE SMASHING PUMPKINS

MELLON COLLIE AND THE INFINITE SADNESS VIRGIN

ALL MIXED UP 4 311

311 CAPRiCOftN-UERCURV

A LONG DECEMBER ♦ COUNTING CROWS

RECOVERING THE SATELLITES 0(iC.-G£FFEN

ABUSE ME ♦SILVERCHAIR

FREAK SHOVl EPIC

ONE HEADLIGHT ♦ THE WALLFLOWERS

BRINGING DOWN THE HDRSE INTERSCOPE

LADY PICTURE SHOW ♦ STONE TEMPLE PILOTS

TINY MUSIC.. SONGS FROM THE VATfCAN GIFT SHOP AILANHC

GREEDY FLY ♦ BUSH

RA20RBLAOE SUITCASE TRAUIAA'INTERSCOPE

LOVEFOOL ♦ THE CARDIGANS

FIRST SAND ON THE MOON STtXKHOLM.'MERCURY

DESPERATELY WANTING ♦ BETTER THAN EZRA

FRICTION. BABY SWtLL'ELEiaRA'EEG

DON’T SPEAK ♦ NO DOUBT

TRAGIC KINGDOM TRAUIAA1NTERSCOPE

BLOW UP THE OUTSIDE WORLD ♦ SOUNOGAROEN

DOV/N ON THE UPSIDE A&M

BARREL OF A GUN ♦ DEPECHE MODE

ULTRA REPRISE

ALL 1 WANT ♦ THE OFFSPRING

IXNAY ON THE HOMBRE COLUMBIA

SWALLOWED ♦ BUSH

RA70RBLADE SUITCASE TRAUMAtNTERSCOPE

WHAT 1 GOT ♦ SUBLIME

SUBUME GASOUNE ALLEY/7ACA

BOUND FOR THE FLOOR ♦ LOCAL H

ASGOOOASOCAD ISLAND

HELLO ♦ POE

HELLO MODERN/ATLANTtt

THE DISTANCE ♦ CAKE

FASHION NIXIGET CAPRICORN'MERCURY

RADIATION VIBE ♦ FOUNTAINS OF WAYNE

FOUNTAINS or WAYNE SCRATCMIE.rTAG'ATLANnC

CRASH INTO ME ♦ DAVE MATTHEWS BAND

CRASH RCA

NAKED EYE ♦ LUSCIOUS JACKSON

FEVTR IN FEVER OUT GRAND ROYAtCAPlTOL

SANTERIA ♦ SUBLIME

SUBLIME GASOLINE ALLEY/MCA

EVERYDAY IS A WINDING ROAD ♦ SHERYL CROW

SHERYL CROW AAM

NEW^

THE PERFECT DRUG ♦ NINE INCH NAILS

THE LOST HIGHWAY SOUNDTRACK NOTHING/INTERSCOPC

LOVE ROLLERCOASTER ♦ RED HOT CHILI PEPPERS

•BEAVIS AND BUn HEAD DO AMERICA’ SOUNDTRACK GEf FEN

FIRE WATER BURN ♦ BLOODHOUND GANG

ONF FITRCF BEER COASTER REPUBLlC-GEFFEN

SUPER BON BON ♦ SOUL COUGHING

IRRESISTIBLE BUSS SLASKWARNER BROS.

NO FACE THE SUICIDE MACHINES

DESTRUCTION BY DEFINITION HOLLYWOOD

THE GOOD LIFE WEE2ER

PINKERTON DGC'GEFFEN

TATTVA ♦ KULA SHAKER

K COLUMBIA

STINKFIST ♦ TOOL

AENIMA ZOO

1 WAS WRONG ♦ SOCIAL DISTORTION

WHITE LIGHT WHITE HEAT WHITE TRASH 550 MUSIC

OFF HE GOES PEARL JAM

NOCOOE EPIC

NOVOCAINE FOR THE SOUL ♦ EELS

BfjUniFUL FREAK DREAMWORK&GEFFEN

NEW^

WHEN THE ANGELS SING SOCIAL DISTORTION

WHITE LIGHT WHITE HEAT WHITE TRASH 550 MUSIC

NEW^

DROP DEAD GORGEOUS ♦ REPUBLICA

REPUBUCA DECONSTRUCTIOIL'RCA

STUCK ON YOU ♦ FAILURE

FANTASTIC PLANET SLASaWARNER BROS

last

ream Rock Tracks

TRACK TITLE ARTIST

A1 SLM TITU ll‘ ANY! LABEL PROMOTION LABEL

★ ★ ★No. 1 ★ ★ ★

ONE HEADLIGHT 1 week* No. 1 ♦ THE WALLFLOWERS

BRINGING DOWN THE HDRSE INTERSCOPE

BLOW UP THE OUTSIDE WORLD ♦ SOUNOGAROEN

CXDV/.\ CN THE UPSIDE A4M

NEW^

★ ★ ★Airpower^ ★ ★

UKINI’S JUICE 4LIVE

SECRET SAMAHDI RAD<OACnVE/MCA

LADY PICTURE SHOW ♦ STONE TEMPLE PILOTS

TINY MUSIC SONGS rROM THE VATICAN GIFT SHOP ATLANTIC

HERO OF THE DAY ♦ METALLICA

LOAD ELEKTRA/EEG

★ ★ ★Airpower* ★ ★

ABUSE ME ♦ SILVERCHAIR

FREAK SHOW EPIC

HAVE YOU SEEN MARY ♦ SPONGE

WM ECSTATIC COLUMBIA

—

DISCOTHEQUE ♦ U2

PCP ISLAND

LOOKING FOR ♦ STIR

STIR AWARF.-CAPITOl

SWALLOWED ♦ BUSH

RAZORBtADf. SUITCASE TRAUMA'INTERSCOPE

HALF THE WORLD ♦ RUSH

TEST FOR ECHO ANTHEM/ATlANTlC

DESPERATELY WANTING ♦ BETTER THAN EZRA

FRICTION BABY SWELLELEKTRA/EEG

GREEDY FLY ♦ BUSH

RAZORBLACE SUITCASE TRAUIM'INTERSCOPE

CANT GET THIS STUFF NO MORE VAN HALEN

BEST OF VOLUME 1 WARNER BROS

KING NOTHING ♦ METALLICA

LOAD ELEKTRA/EEG

JUST ANOTHER DAY ♦ JOHN MELLENCAMP

MR HAPPY GO LUCKY MERCURY

LONG DAY ♦MATCHBOX 20

YOURSELF OR SOMEONE LIKE YOU LAVA/ATUNTIC

BOUND FOR THE FLOOR ♦ LOCAL H

A.S GCOD AS Df.A.0 ISIAND

WHAT 1 GOT ♦SUBLIME

SUBLIME GASOt INE AIL£Y/»ACA

★ ★ ★AfRPOWER* ★ ★

A LONG DECEMBER ♦ COUNTING CROWS

RECOVERING THE SATEUITES D(jCKaEFFD4

ME WISE MAGIC VAN HALEN

BEST OF VOLUME 1 WARNER BROS.

ALU WANT ♦ THE OFFSPRING

IXNAY ON TmF MOMRRF COLUMBIA

NEW^

CASUAL AFFAIR TONIC

l FMON PARADT POLYDOR/A4M

STINKFIST ♦ TOOL

AESUA ZOO

CHANGE THE LOCKS TOM PETTY AND THE HEARTBREAKERS

MUSIC FROM *SHrS THF ONf WARNER BROS.

BANG BANG ZZ TOP

RHYTHMEFN RCA

TRIP FREE LIFE THE HAZIES

VINNIE SMOKIN' IN THE BIG ROOM EMI

WOULD? ♦ ALICE IN CHAINS

UNPLUGGED COLUMBIA

GROW YOUR OWN DARLAHOOD

BfG FINE THING REPRIK

F.N.T. SEMISONIC

GREAT DIVIDE MCA

—

THE WAKE-UP BOMB R.E.M.

NFW ADVFNTURES IN HI-FI V/ARNFR BROS

NEW^

THIRTY-THREE ♦ THE SMASHING PUMPKINS

MFUON COlllE AND THE INFINITE SAWiESS VIRGIN

STUCK ON YOU ♦FAILURE

FANTA.STVC PlANfT SLASHAVARNER BROS

OFF HE GOES PEARL JAM

NO rODF EPIC

FIRE WATER BURN ♦ BLOODHOUND GANG

ONE FIFRCF RFFR COASTER RfPlJBlKl'GFFFFN

CLIMB THAT HILL TOM PETTY AND THE HEARTBREAKERS

MUSIC FROM 'SHE'S THE ONP WARNER BROS

THROUGH YOUR HANDS DON HENLEY

MICHAEL SOUNDTRACK REVOLUTION

BITTERSWEET ME ♦ R.E.M.

NEW ADVENTURES IN H) R WARNER BROS

RE-ENTRY

PRETTY NOOSE ♦ SOUNDGARDEN

DOWN ON THE UPSIDE A&M

RE-ENTRY

6TH AVENUE HEARTACHE ♦ THE WALLFLOWERS

BRINGING DOWN THE HORSL INTCRSCORC

ConvMftOT«nat]iyi« w>pte(^»rptoy by BnidcaUDM Systems' R«do Track Seim. 103Mwi5ti«amigcfc«ibonj«ilWiRxlefflro6i]tabCfaMtfKmniC8%rimtwM24 houna(tty.7il>ysawi* Songs nrtiadlvnumbefddttccticra.

t,giiitogrffh»ttmi>«n»nLfeipoii.»»«'aiiM»SfcmQM(agYthwt>ghan>n800a^^ RodOcr IJOOdttedicre Modern RocMtortK first trne. ^Vdeodip avvIMAty « 1997, BfftoardaRtCcrrirmincabens.

HITS!

TOKIO

Weak of January It 1996

® Cosmic Girl/ Jamiioquai
® I Believe In You And Me /

Whitney Houston
(3l Alfie / Vanessa Williams
(3) Beyond The Invisible / Enigma
<S) Born Slippy/ Underworld
<3> Seiche By Golly Wow! / *?*

0 Stay Together / Mr. Big
*S> You Can Do It {Babyf/

Nuyorican Soul Featuring George Benson
(f> Change The World / Eric Clapton
® Every Time I Close My Eyes / Babyface
O 2 Become I / Spice Girls
@ Justify/ Daryl Hell
<9 Virtual insanity / Jamiroqual
O Say... If You Feel Alright / Crystal Waters
® I love You Always Forever / Donna Lewis
® Let's Get Down / Tony Toni Tone
<9 Un-Break My Heart /Toni Braxton
<9 Lovefool/ Cardigans
O Bohemian Rhapsody /The Braids

® Spiritual Thang / Erie Benet

O La Le La / Shikisha
@ Whoever / Lewis Taylor
O Pride/Miki Imai
O Fly Lika An Eagla / Seal
Your New Cuckoo / Cardigans
9 You Must Love Me (From 'Evrta'l /
Madonna

® Say You'H Be There / Spice Girls
d All You Want / Gerry Oeveaux
9Sheke/Smap

0 Come On Everybody / Us3

® You WiH Rise / Sweetback

^ Kumoge Chigireru Toki / UA
® Yes - Free Rower - / My Little Lover
& Thafs The Way (I Like It) / Spin Doctors
Featuring Biz Merlue
® Don't Let Go/ (li>ve}/En Vogue
9 Macerena Christmas / Los Del Rio
® Sunshine Superman / Jewel
d Stranger in Moscow/ Michael Jackson
^ No Women. No Cry/Fugaes
® IMt Makes You Happy/ Sheryl Crow

01 Love Rollercoaster / Red Hot Chili Peppers
0 Fade Into Light/ Boz Sceggs

d I Wes Bom To Love You / Worlds Apart
0 How Bizarre /OMC
® Dub-I-Dub / The Axel Boys Quartet
0 Hello / Poe
0 Angel /Simpty Red
0 It's In Your Eyes / Phil Collins
0 II You Ever / East 17 Featuring Gabrielle
0 Never Miss The Watar / Chaka Khan
Selections can be beard on
“Sapporo Beer Tokio Hot 100"
every Sunday 1 PM-S PM on
J-WAVE/SUFMin TOKYO

81.3 Fm HU8UE

Station information available at:
http://www.infojapan.com/JWAVE/

Copyfigi? materia!

BILLBOARD FEBRUARY 1. 1997

Radio

PROGRAMMING

‘I Like It’s’ Unlikely Journey From Obscure

Soundtrack Cut To One Whopper Of A Hit

M USIC TO EAT BURGERS TO: hits in the Latin music industry, and

While the Blackout Allstars’ “I Like now, I’m in the spotlight in the U.S. It’s

very weird ”

To accompany Nieves on the record-
ing, George assembled a one-shot
group of Latin/ethnic artists, dubbed
the Blackout Allstars — named after
"Blackout,” the original title of the

It” is the only song in the Hot 100 Sin-
gles’ top 40 without a serviced video,
the track isn’t exactly lacking for TV
exposure.

Since its prime placement in a
recently forged series of Burger King
ads prominently featuring popular
songs, the 3-year-old barrio dance-floor
thumper has gained the kind of nation-
al pnHnotional exposure that label exec-
utives invoke only in their giddiest
dreams. In addition, the song was fea-
tured during televised post-coverage of
the Chicago Bulls’ championship win
last year.

“This is a feel-good song. That’s the
beauty of it,” says Jerry Blair, senior
VP of national promotion at Columbia.
“I don’t think we’ve scratched the sur-
face yet with this record. So far, its suc-
cess has been mouth to mouth, pro-
g^rammer to programmer. People are
telling each other, and it’s working.”
Last week, "I
Like It” scam-
pered from No. 50
to No. 38 in its
eighth chart week
on the Hot 100. It
hops to No. 34 this
week. Some 77% of
its chart action is based on airplay.

The song originated as the theme to
the 1994 motion picture comedy/ drama
“1 Like It Like That,” starring Lauren
Velez, Griffin Dunne, and Rita
Moreno, in which a woman from the
Bronx, N.Y., attempts to balance three
kids, an oveid)earing mother-in-law, and
a transv^tite brother as she takes a job
at a record label because her bike-mes-
senger husband is jailed for looting dur-
ing a blackout

For the soundtrack, titled “I Like It
Like That — ^Volume 1,” the theme song
was composed by M. Rodriguez and
Tony Pabon, the latter of whom is the
minister that married lead vocalist Tito
Nieves and his wife. Producer Sergio
George, also a friend of Nieves’ (who
has recorded 18 albums for the Latin
American market), invited him to
record the tune.

"It’s one of the strangest things in
my life,” Nieves says. Two years later,
he recalls, "I’m on tour in Puerto Rico,
and my wife calls me to tell me that
Burger King has the song on. I’ve had

by Chuck Taylor

movie. With Nieves, the band compris-
es Sheila E., Grover Washington Jr.,
Ray Barretto, Dave Valentin,
Paquito D’Rivera, and Tito Puente.

A 12-inch pressing of the track was
aggressively worked to clubs in Novem-
ber ’94, but “by then, the movie had
bombed, and no one paid attention to
the single,” says Columbia senior direc-
tor of crossover promotion John Straz-
za. It was also serviced to radio, and
again was met with apathy.

But six months later, for no dis-
cernible reason, club DJs from Miami
to Austin, Texas, began spinning the
record. “It got huge,” Stra^ says. “It
has a tremendous summer feel.”

Even so, label execs decided that
instead of rereleasing the track, they
would hold it for a dance compilation
already in the works.

A year later, in July 1995, Columbia
licensed the track from owner Sony
(which released the motion picture) for
its club-targeted “Global Basics: Dance
Music For The Millennium.” It was
remixed from a 12-piece salsa number
into a 7:03 Latin-flavored dance
anthem by Long Island, N.Y.-based
producer Bobby D’Ambrosia.

"The album contains songs that had
been top five or No. 1 club records,” says
Kevin Gore, VP of of jazz marketing
and promotion at Columbia. “We were
actively pursuing Claudia Chin’s ’Love
Power’ and Staxx Of Joy’s ‘Joy,’ and
‘I’m Gonna Get You' by Bizarre Inc.”
But then an essential curve sliced
through Columbia’s marketing course

EXECUTIVE TURNTABLE

FORMAT FLIPS. Howe, Texas, outlet
KHYI (Y95) is moving to Dallas and
flipping to progressive country. Y95
will continue to air ABC’s Real Ck)un-
try nights and weekends. New PD/
morning man Bruce Kidder moves
from WOAI San Antonio, Texas.

A.S expected, top 40 KQKS (KS104)
Denver is now gold-based Country 104.3
under PD Chuck St. John, PD of simi-
larly formatted duopoly partner
KYGO-AM, which will now lean older.

STATION SALES. T^vo weeks after spin-
ning off KSLX Phoenix to Sandusky,
Nationwide is set to pick up ci*o.<stown
cla.ssic hits KIIT('-FM (K-Hits) from
Bonneville for .'53*1 million. It joins hand.'i
with sister hot AC KZZP.

The Depaitmeni of .Ju.stiee is looking

into Ojx’s purchase of three of NewCi-
ty’s Syracuse, N.Y., stations. (k>x says
the “civil investigative demand” by the
Justice Department won’t hold up the
overall Cox/NewCity merger. And SFX
has redone its deal with Secret Com-
munications so that it no longer includes
Secret’s two Cleveland stations. The
purchase price for the remaining Pitts-
burgh and Indianapolis outlets is now
$255 million, down from $J^0O million.

UP THE LADDER. KLYY (Y107) Los
Angeles PD Phil Manning makes a sur-
prise move to Seattle to rejoin Entereom
as PD of KNDI) (the End), replacing
Rick Lambert. Mike Ousham is
njimed manager of SFX’s foui* Houston
stations fix)m a ()ost n» mamiger of LBJ
Bi*ojiflea.«tings .^L«tin. Texa.s. pi*o|x?i*lies.

when dance WKTU New York — which
had cocked a brow over the track
months before — asked for an edit,
eventually engineered its own, and
added the record in late July 1996.

“My exact quote to Columbia was
‘This will be ‘Macarena II,’ ” says
WKTU music director Andy Shane.
“Every time we checked out the clubs
in Jersey and New York, it was filling
floors. I had no doubt that it would work
on radio.”

Shane says “I Like It” drew top
three phones out of the box. Today, it
continues to rank in the top two of the
station's playlist and shows “virtually
no signs of burn. For this market, it’s
not going anywhere soon.”

Just as the song was catching fire on
KTU and crosstown top 40 rival WHTZ
(ZlOO), Columbia was informed that
Sony had licensed it to Burger King for
its series of musically driven spots fea-
turing the likes of Foreigner’s “Double
Vision,” Modern English’s “I Melt
With You,” and KC & the Sunshine
Band’s “That’s The Way (I Like It).”

“We were in a marketing meeting in
November, and someone brings in the
commercial and we flipped out,” says
Tom Corson, Columbia senior VP of
marketing. “We immediately began
strategizing what we should do.”

At the same time, “we were being
bugged to death by retail in New York,”
says Columbia associate director of sin-
gles sales Mike McCaffrey. “They
were asking when we were going com-
mercial with it.”

So the next step of what was now an
official marketing priority was to
promptly rush to New York-area out-
lets a new single edit (4:20), which ulti-
mately locked up smash status in the
nation’s No. 1 market This week, it is
top 10 in sales in the city, according to
SoundScan.

Clolumbia’s next tactic for this well-
traveled and yet still new-to-most song
is to utilize its status to propel sales of
“Global Basics.” According to Corson,
the compilation will be repackaged to
appeal to a mainstream audience. “We
feel that now that we have a context by
which to market it, changing the name
of the package to ‘I Like It’ and chang-
ing the artwork will offer us a great
opportunity,” he says.

The previous design featured a dark
streamlined cover with simplistic type
and artNvork. The new cover vnU feature
a Latin couple “who are obviously in the
dance party mood,” notes (^rson.

“We put this record out before the
popularity of dance music was reinvig-
orated,” adds promotion senior VP
Blair. “The key now is obviously for us
to sell albums. We have a chance to
develop a franchise of compilation
albums here.”

In the meantime, the label will focus
on efforts to spread “I Like It’s” popu-
larity cross-country. It plans to re-edit
an original video that includes scenes
from the movie, accompanied by the
Blackout Allstare. In the updated ver-
sion, the movie scenes obNiously will be
.supplanted.

But with or without a clip, “I Like It”
has already preved that its charms lie
in happy lyrics, a light, sing-along cho-
rus. and the Latin beat that i.« so in
vogue.

Simply, predicts Blair, “we think we
have a No. 1 song here.”

Jay Beau Jones Spruces
Up WMRQ’s Modern Edge

T OP 40 WKSS HARTFORD, Conn.,

PD Jay Beau Jones says his flrst task
upon adding PD duties at modern
V^RQ (Radio 104) Hartford, Ck>nn.,
was to “blow off the dust left from the
previous management [by] making
the station active again musically, pro-
motionally, and through production.”

There's putting money where your
mouth is: In the fall Arbitron, WMRQ
rose 6.3-6.2, up from 5.6 a }xjar ago.

When Jones added PD duties at
WMRQ, he’d already
been in the market
five years at the helm
of crosstown top 40
WKSS (Kiss 95.7),
which was eventually
folded into the SFX
empire. He had
worked with other
top 40-to-modern
converts, including
WNNX(99X) Atlanta
(PD Brian Phillips)
and modern WXRK
New York (PD Steve
Kingston).

Jones says, “Ask
any student of radio
about stations that
Steve and Brian have
done, and they’ll tell
you stories of great
promotions (and) won-
derful morning events. Theater of the
mind is a major part of both of their
agendas.”

To that end, one of Jones’ first
moves was to add “Wendal,” a char-
acter production whiz Keith Eubanks
first did on 99X that Jones calls a
“radio version of the MTV taxi-driver
guy.” Wendal appears in on-air pro-
mos and comes off as “a member of
the staff who’s kind of a goofball and
Is always offbeat, always apologizing
for being late and being incompetent,”
Jones says.

WMRQ uses Wendal bits any time
it launches a promotional element “By
adding Wendal, we’ve created an
immediate sense of fun and animation
on the station without leaving the
image [or] getting too obscure,” Jone.s
says, “which counterbalances the
harder edges of the format”

Musically, Jones says, Radio 104
“was never terribly off track. Robert
Bepjamin [of sister WHFS Washing-
ton, D.C.] helped me keep it on track,
and my former assistant PD Skip
isley [now programming modern
KTEG Albuquerque, N.M.J was a
tremendous help as well.

“Radio 104 Ls a bit closer to the core
than most of the alternatives you see.
It was born a little harder, a little
crunchier a few years ago, and we
tried to stay as close to those roots as
much as possible. We play Sheryl
Crow, but it’s carefully dayparted.”

Here’s a sample hour on Radio lO^l:
Smashing Pumpkin.^, “Disarm";
Sheryl (3row, “If It Makes You
Happy”; Everclear, "Santa Monica”;
Bush. “Greedy Fly”; U2, “Dis-
cotheque”: 31 1 . “Don’t Stay Home":
Sublime, “Santeria"; Nirvana, “Lithi-
um”; Slone Temple Pilots, “Interelate
• Love Song”; Depeche Mode. “Barrel
! Of A (Jun": Wallflowei*s. *’6th Avenue
j Heartache": Garbage, “#1 (h*ush”:

and Beck, “Where It’s At”

WKSS, however, draws on its
rhythmic top 40 roots, and therefore,
Jones says, it’s “very late on alterna-
tive hit product and doesn’t play it for
long once its current shelf life goes
away, and it depends on the track.
Youll never hear Bush on Kiss 95.7.”
While WMRQ and WKSS stay out
of each other’s way musically, Jones
feels that top 40 missed a chance to
take the wind out of modern’s sails.

Citing Pearl Jam,
Liw, and Bush, Jones
says, “the first level of
those acts were killer,
unbelievable songs
that [top 40] could not
play — at least we
thoi^hL I believe the
downside of alterna-
tive would have hap-
pened 1 to 2 years
^ if [tc^ 40] wc4ce up
when Hootie and Ala-
nia arrived. [Top 40]
guys like me were
saying, ‘We can’t play
that. That’s alterna-
tive.’ In fact, Hootie &
the Blowfish was just
great pop, which is
now heard on AC. If
[top 40] embraced
that tier of alternative
acts, even Smashing Pumpkins, [it]
would have made a dent earlier in
alternative.”

WKSS has recently found itself
behind modern-leaning hot AC rival
WTIC-FM for the first time in sever-
al years. Despite this, Jones says,
there’s no attempt to use WMRQ to
keep WTIC-FM under control. “It's
too early in the game to start trying to
use one station to be a blocker for
another. I will say this: After ’TIC
spent $200,000 on their new morning
show on TV they still came out No. 2
18-34, behind ’MRQ. So the strength
of ’MRQ alone, without even trying to
point it in any particular direction,
was strong enough to knock TIC off
in one book. Anytime I could beat
TIC, it’s an added bonus.”

Splitting his time between WMRQ
and WKSS, which are located in
buildings 15 minutes apart, Jones is
careful to give each station equal time.
“I took on this challenge because I
wanted to learn how to delegate duties
more,” he says. “I wanted to grow as
a manager. And I felt the only way I
was going to do it was if I was thrown
in the water and forced to swim. It’s
made me trust my staff more. It’s
giren me a new kind of confidence —
that I can hire the right people and let
them do the job.”

Some of those hires include music
director Dave Hill and Jeremy “Pike”
Petereon, I’ecently installed in nights
from WXRK. Jones says Peterson
“brings a sense of controlled chaos to
the airwaw-s.”

Now overeeeing the air staffs of two
stations. Jones says he is presented
with new challenges. “It’s double the
team. The blueprints for l)oth teams
have to be a bit clearer and have to be
updated from lime to time, but I
l')elie\'e it can be done."

M.\RC SCHIFFMAN

JAY BEAU JONES

Program Director
WMRQ. Harllord. Conn.

BILLBOARD FEBRUARY 1. 1997

Copyrighted nnaterlai

Music Video

PROGRAMMING

‘Rage’ Hits The Boards;
MTV Animus On The Web

based programmer “Rage” is hitting
the slopes for a cross-promotion with
American Skiing Co. (ASC) and its
seven New England ski resorts.
“Rage” has taped several of its
December and January episodes on
location at ASC Boardfests 97, which
awards cash and other prizes to com-
peting snow board sport participants.
Winning “Rage” viewers will receive
“Learn to Snowboard” packages that
include free ski lift tick-
ets and snow board train-
ing courses, according to
“RageV* Paul Carchidi.

Kinetic/Reprise act
Edison performed at the
events and has appeared
on “Rage” as part of the
promotion.

Portions of the event
will also air on cable
channel Outdoor Life in
mid-’97, according to
Carchidi.

Hating mtv? Over

the past two years, music
video programmers have
used the Internet to pro-
mote their channels to
cutting-edge computer
users. However, tho^ efforts compete
with a number of grass-roots World
Wide Web sites that offer viewpoints
that, umm, differ from the corporate
line.

MTy in particular, has become the
target of several less-than-flattering
Web pages. Here is what the Eye
found:

“The MTV Hater’s Page” (http://
www.cris.com/-fragface/mtv/)
greets visitors with potentially offen-
sive graphics, including an animated
MTV logo that floats over a swirling
swastika. In addition, the site offers
programming tips from the page's
creator, known simply as “Fragface”
(who apparently also hates Green
Day, America Online, Microsoft, and
everything that is mainstream).

(insider these practical and not-so-
practical suggestions. “MTV needs
some VJs that actually have some
music knowledge, not just looks. How

does being a model qualify you as
someone of musical experience?” and
“MTV [should] move all their shows
to M2 and move M2’s programming
to MTV”

Other sites include “The MTV
Hate Page” (http://www.wco.com/
— keebler/ratv/) and the “Garbage
TV” site (http://www.whidbey.net/
-pclong/GTV/gtv.html).

Along with the harsh opinions,
some of the anti-MTV sites run mis-
leading or inaccurate
information.

For example, “The
MTV Hate Page” con-
tains a lengthy diatribe
about how talk show’ pro-
gramming is infiltrating
MTV sister station M2.
Apparently the Web
page’s author thinks that
MTV's new Dennis
Rodman and Jenny
McCarthy programs
are destined for M2.

Another Web page
misidentifies MTV pres-
ident Judy McGrath as
“Jenny McGrath.”

A spokeswoman for
MTV declined to com-
ment on these Web sites.

Quick cuts: The CVC Report

senior editor Sharon Steinbach is
no longer with the music video pub-
lication after 12 years. She can be
reached at 212-752-3260 . . . DCI
Music Video has released a long-
form music video from Rush’s Neil
Peart. The two-video tutorial decon-
structs the drummer’s work on
Rush’s latest album, “Test For
Echo,” and aims to teach others
about the mastery of drums . . .
Andre Evans, the mind behind the
Boston-based clip show “Video
Flava,” has launched a second video
program, “Love Zone.” The new'
show, which plays slower R&B
tracks, airs Sunday nights midnight-
2 a.m. on Boston Neighborhood Net-
work Television and Thursday
nights 10 p.m.-midnight on C3TV in
Cape Cod, Mass. WRBB Boston per-
sonality Daryeli Wright hosts.

by Brett
Atwood

I PRODUCTION NOTES

LOS ANGELES

Director Clark Eddy was the eye
behind the clip “My Blood” by Pro-
tein. Kim Christensen produced
for U-Ground, while Dermotl
Downs directed photography.

Propaganda Films director
Stephane Sednaoui lensed Fiona
Apple’s “Sleep To Dream.” Ellen
Jacobson produced, and Jo Moli-
toris directed photography.

NEW YORK

Tracey Lee’s “The Theme” was
directed by Lara M. Schwartz for
361 Degrees. Lauren Winters pro-
duced; Dermott Downs directed
photography.

Marc Klasfcld directed and pro-
duced the video “Yardcore” by
Born Jamericans for MKSR Pro-
ductions.

NASHVILLE

Noel Haggard's “Once You Learn”
w’as the work of director Bob Gabriel-
son for the Collective; Rebecca
Scarpatl produced.

The video for “Ease My Troubled
Mind” by Ricochet was directed by
Marc Ball for Scene Three.

OTHER CITIES

Marcos Siega directed Corrosion
Of Conformity’s “Drowning In A Day-
di*eam” for Notorious Pictures. Rachel
Dodd executive-produced, w’hile Glen
Mordeci directed photography on
location in London.

Commotion Pictures director Ger-
ald Casale w’as the eye behind
Soundgarden’s “Blow' Up The Outside
World.” Shot in San Francisco, the clip
w'as produced by Alan Wachs, w’hile
Patrick Darrin dii*ected phot(^*aphy.

FOR WEEK ENDING JANUARY 19, 1997

Billboard. Video Monitor.

THE MOST-PLAYED CLIPS AS MONITORED BY BROADCAST DATA SYSTEMS

“NEW ONS'’ ARE REPORTED BY THE NETWORKS (NOT BY BDS) FOR THE WEEK AHEAD

liar

!4 houn daily
1899 9(h Street NE.

Washinfton. O.C. 20018

1 Ur Kim. No Time

2 Mo ThufS Family, Thug OevoMn

3 Wt*wy Hnotoa I MiM h VWj And Me

4 Dr. Ore. Been There Done That

5 Keith Sweat. Nobody

6 Ginuwine, Pony

7 Foxy Brown, GM Me Home

8 Has, Street Dreams

9 MC Lyte, CoM Rock A Party
10 Da Brat, Ghetto Love

It Immature, Watch Me Do My Thing
12Etykah Badu, On&On

13 Alforus Hunter, Weekend Thang

14 R. Kelly. I Believe I Can Fly

15 MsiclO&'nBDcfgftuiLNcIhn'But...

16 <f-, Betcha By Golly Wow!

17 Makaveli, To Live & Ore In LA.

18 Maxwell, Sumthin' Sumthin'

19 Aaliyah, One In A Million

20 Do Or Die, Playa Lite Me And You

21 New Edition, I'm StHI In Loie With You

22 The Roots. What They Oo

23 Seal. Fly Like An C2«le

24 Rahsaan Patterson, Stop By

25 112, Only You

26 Lost Boyz, Get Up

27 Toni Braxton, Un-Break My Heart

28 New Edition, You Don't Have To Worry

29 Chaka Khan. Never Miss The Water

30 Aaliyah, tl Your Girl Only Knew

A A NEW ON$A A

Snoop Doggy Dogg, Vapors

Dtu Down t/Bootsy Collins. Baby Bubba

Christion, Full Of Smoke

Billy Lawrence V MC Lyte, C'Mon

Tracey Lae, Theme

Twke, Sparkle

Mint Condition, You Don't Have To Hurt
Byron Stringily, Get Up
Tre, Take Your Time
Montell Jordan, What’s On Tonight

• ••MieT iisevieioa.

Continuous programming
2806 Oprytand Dr..

Nashville, TN 37214

1 Kevin Sharp, Nobody Knows

2 Rick TreWv, Runrwig Out Of Reasons...

3 Travis Trrtt, Where Com Don't Grow

4 Trisha Ybarwood, Everybody Knows

5 LeAnn Rinws, One Way Ticket

6 Alan Jackson, Little B%

7 Brooks & Dunn, A Man This Lortety

8 David Lae Murphy, Genuine Redned s

9 Faith HHI, I Can't Do That Anymore

10 Tracy Lawrertce, is That A Tear

1 1 Bryan White, That's Aruther Song

12 MkxVM^OeKhMaytsHeflNtteHBrftav

13 Terri Clark, Emotional Girl

14 Mark Chesnutt. It's A Little Too Late

15 Oaryle Singletary, Amen Kind Of Love

16 Martina MeStide. Cry On The Shoulder...

17 John Berry, She's Taken A Shine t

18 Bill Engvall, Here's Your Sign t

19 Deana Carter, We Danced Anyway t

20 Ricochet, Ea» My Troubled Mind f

21 Lonie Morgan, Good As I Vte To You t

22 Gary Allan, Forever And A Day t

23 'Race Mn, Ohs Arft) No Thrfvf thrig t

24 Trvy Byrd. Oonl Tale Her She^s Alt Got t

25 Clay Walker, Rumor Has it t

26 Billy Ray Cyrus. Three Little Words t

27 MaA Chesnutt, Let It Rain

2B JoD KM aMi K toYuYaTBWeaiitlT&.t

29 Paul Brandt, I Meant To Oo That

30 Toby Keith. Me Too

31 Smitiy Kodiaw PMcs. Reigicn And Her

32 BR5-49, Even If It’s Wrong t

33 OixgSipanwAHMMViBflifQrScaes.

34 Thrasher Shiver, Be Honest

35 Great Plains, Wofverton Mountain

36 Big House, C^ld Outside

37 Shania TWaIn, God Bless The Child
36 James Bonamy, All I Do Is Love Her

39 ly Hsndea She Y.MS 1b Be VVMBd

40 RetaMcEntif*. The Fear Of Beir« Alone

41 OysINBemaKLHMVNfefbigXtmSVhat..

42 DeiyiDodil,TharsHcMrlGci(1bMemi:his

43 Ray Vega, Remember When

44 Harley Allen, Boy She Old

45 R#BRe|^Mae7hanlWrtBd'R>Know

46 Kathy Mattea, 455 Rocket

47 Noel Haggard. Once You Learn

48 TIvMMid&tCbllCaeritulaehteAtvnje

49 Brady Seals, Another You. Another Me

50 Alison Krauss, Baby Mine
t Indicates Hot Shots

AA NEW ONSAA

Charlie Major. This Crazy Heart Of Mine
John Jennings, Everybody Loves Me
Royal Wade Kimts, Another Man's Sky

Continuous programming
ISIS Broadvray, NY. NY 10036

1 Live, Lakini’s Juice**

2 LL Cool J. Ain't Nobody

3 Bush, Swallowed

4 U2. Otsco(he<)ue

5 Counting Crows, A Long December

6 The Cardigans, Lovefool

7 SherySOoMC Everyday Is A WkxJtngF^sad

8 Spice Girts, Wannabe

9 Ofispring. All I Want

10 En Vogue, Don't Let Go (Love)

1 1 Dave Matthews Band, Crash Into Me

12 Stone Temple Pilots, Lady Picture Show

13 Waimewers, One Headlight

14 Unsane, Scrape

15 Jewel, You Wm Meant For Me

16 Keith Sweat. Nobody

17 John Meilencamp, Just Artother Day

18 R. Keily, I Believe I Can Fly

19 Whftwy Hourtarv I BeAM In Mau And Me

20 Smashing Pumpkins, Thirty-Three

21 The Roots, What They Oo

22 Luscious Jackson, Naked Eye

23 Chemical Brodrers, Setting Sun

24 Fugees, Rumble In The Jur^

25 Dob Snoops Upside'll Heed

26 Prodigy. Firestarter

27 Marilyn Manson, Tourniquet

28 Foxy Brown. Get Me Home

29 SoinlpRteri,GkMUpTheOutSKleWxtJ

30 Metallica, King Nothing

31 Ginuvrine, Pony

32 Makaveli, To Live & Die In LA.

33 Kuia Shaker. Tattva

34 Failure. Stuck On You

35 Fountains Of Wayne, Radiation Vibe

36 Babyface, Everytime I Close My Eyes

37 NIrw IrKh Nails, Perfect Drug

38 Sublime, Santena

39 Better Than Ezra, Desparateiy Wanting

40 Ul' Kkn. No Time

41 Tony Toni Torse, Let's Down

42 311, All Mixed Up

43 New Edition, I'm Still In Love With You

44 Poe. Helk}

45 lUiLaiYQhnIbTheRnlovffQTTnes

46 IMCandtori.VitWKindOfManWxAII

47 Depeche Mo^, Barrel Of A Gun

48 Silverchair, Abuse Me

49 BJork, I Miss You

50 311, Down

** Indicates MTV Exclusive

A A NEW ONSA A
Snoop Doggy Oogg, Vapors
E-40, Things Will Never Change
Gina G. Ooh Aah...Just A Little Bit
Cake. I Will Survive
Veruca Salt. Volcano Girls

C9TNN

THE NASEIVILLE NETWC«K«
The Heart cf Counpy

30 hours weekly
2806 Oprylaitd Dr..

Nashville. TN 37214

1 Kevin Sharp, Nobody Knows

2 TkacyByitLOont Tale Her She's AJI I Got

3 Shania Twain, God Bless The Child

4 Brooks & Dutm, A Man This Lonely

5 Rick Ttevino, Running Out Of Reason

6 Faith Hill, I Can't Do That Anymore

7 Travis Tritt, Where Com Don't Grow

8 Trisha Yearwood, Everybody Knows

9 Mark Chesnutt, It's A Little Too Late

10 Oaryle Singletary, Amen Kind 01 Love

11 MncVMoOeKVMsybeHelNttsHerNcw

12 Reba McEntire. The FearO Being Alone

13 Toby Keith, Me Too

14 Rartdy Trai^, Would I

15 Tracy Lawrence, Is That A Tear

16 Bryan V/hite, That's Amther Song

17 Alan Jackson, Little Bitty

18 James Bonamy, All I Oo Is Love Her

19 iyHand3n.SheWrts1)BeV«nM/^

20 Sammy KenhavcPAtKS,NBl0Ch And Her

21 Paul Brandt, I Meant To Do That

22 Billy Dean, I Wouldn't Be A Man

23 Oeiy4Dedd.Thai!sHowlGoi1bMempNs

24 Deana Ca^, We Danced Anyway

25 RkocheL Ease My Troubled Mind

26 MardtaMcBddi^ayOnTheSxxAJffa..

27 Billy Ray Cyrus, Three Little Words

28 BR5-49, Even If Ifs Wrong

29 John Berry, She's Taken A Shine

30 Itace AdhK Ohis A«ru No Thinigrf Thirg

A A NEW ONSA A

Gary Allan, Forever And A Day
Great Plains, Wolverton Mountain
Noel Haggard. Once You Learn
David Lee Murphy, Genuine Rednecks
Thrasher Shiver, Be Honest
Clay Walker, Rumor Has It

IVH

MU9C nesT

Continuous programming
1515 Broadway. NY, NY 10036

1 Toni Braxton, Un-Break My Heart

2 No OeuM, Ooni Speak

3 Sheryl Ciw, If It Makes You Happy

4 En Mgue, C^'t Let Go

5 John Meflencamp, Just Another Day

6 Journey; When You Love A Woman

7 Alanis Mortssette, Head Over Feet

8 The Cardigans, Lovefool

9 Wtiney HouBtan, I Bekae In Yu And Me

10 Jewel, You Were Meant For Me

11 Counting Crows, A Long December

12 Madonna. Don't Cry For Me Argentirta

13 Betcha By Golly Wow!

14 U2, Discotheque

15 The Wallflowers, One Headlight

16 Sher)4 Otovs Everyday Is A Windirg Road

17 Dishwalla, Counbng Blue Cars

18 Duncan Sheik, Barely Breathing

19 Babyface, Everytime I Close My Eyes

20 Donna Lewis, I Umb You AKways Forever

21 BatsaSbeBandtBiyanAdVTS,IFnaly..

22 Melissa Etheridge, I'm The Only One

23 Jewel, Who Will Save Your Soul

24 Hootiet The Bkwrfish. Tucker’s Town

25 ToftI Braxton. You're Makin' Me High

26 Eric Clapton, Change The World

27 John Mel enc amp, Key West Intermezzo

28 J.1»AtQNBNto>JdnThBQeB9BS«^

29 R. KeHy. I Believe I Can Fly

30 Seal, Fly Like An Eagle

A A NEW ONSA A
R.E.M., Electrolite

Better Than Ezra. Desperately Wanting
Gina G, Ooh Aah...Just A Little Bit

THE CLIP LIST

A SAMPLING OF PLAYLISTS SUBMITTED BY
NATIONAL & LOCAL MUSIC VIDEO OUTLETS FOR
THE WEEK ENDING FEBRUARY 1. 1997.

Continuous programming
1221 Collins Avo
Miami Beach. FL 33139

AMERICA’S NO. 1 VIDEO

Orv Hill. In My Bed

BOX TOPS

MakaveK, To Live & Die In L.A.

Alfonzo Hunter, Weekend Thang

Whitr^ Houston, I Believe In Ybu And Me

Erykah Badu, On And On

Aaliyah, One In A Million

Spke Girls, Wannabe

Keith Sweat, Nobody

ktadt 10 & The Dob Ndhrf Bui Ihe C»i Ht

Da Brat Featuring T-Boz, Ghetto Love

MC Lyte, Cold Rock A Party

New Edition, You Don’t Have To Worry

R. Kelly, I Believe I Can Fly

Westside Connection. Bow Down

2Pac, Toss It Up

No Doubt, Don't Speak

ur Kim, No Time

NEW

Bjork, I Miss You

The Fugees, Rumble In The Jungle
Ice Cube, The World Is Mine
Korn. A.O.I.A.S.

Marilyn Manson. Tourniquet
Nine Inch Nails, The Perfect Drug
No Doubt, Excuse Me Mr.

Puff Oa^, Cant Nobody Hok) Me Down

R.E.M., Electrolite

Slfverehalr, Abuse Me

Snoop Do ^ Oogg. Vapors

Sublime, Santena

Veruca Salt. Volcano Girls

Verve Pipe, The Freshmen

Wild Orchid. Talk To Me

O.G.C.. Hurricane Danjer

Playah Jay, Somethin' To Roll To

Richie Rich, Oo G's Get To Go To Heaven

The Suicide Machines, No Face

Tricky, Chnstiansands

Tru, Somebody's Watching Me

MUSIC TBLBVISION

The Musie Shopping Network

Continuous programming
3201 Dickerson Pike
Nashville. TN 37207

Mariah Carey. Without You

Elton John, Blessed

Kenny Logins, Return To Pooh Coiner

Carole King, You've (3ot A Friend

Rod Stewi^ Forever Young

Billy Joel, River Of Dreams

Daly Parton, Just WtKn 1 Needed You M(Et

Conway Twitty, it's Only Make Believe

George Strait, Cross My Heart

George Jones, I Oont Need Itxf Rockfig Char

Pat^ Cline, Crazy

Elvis Presley. Peace In The Valley

Pink Floyd, Time

Black Sabbath, Paranoia

Lynard Skynard, Saturday Night Special

Journey, Aj^ Way You Want It

Led Zeppelin, Kt^mir

AC/DC, Back In Black

Jimmy Buffett. One Partrcular Harbor

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Beck, Devil’s Haircut
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Santa Sabina, La Garra

Shetyf Crow. Everyday Is A Winding Road

Donna Lewis, Without Love

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Signal Hill Or
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Copyrighted ma: ■

BILLBOARD FEBRUARY 1 . 1 997

KNiniNG FACTORY CELEBRATES 10TH ANNIVERSARY

(CoTitimtedfrom page 1)

offerings for its monthlong lOth-anni-
versary celebration in February begin
with a Richie Havens show and end
with Philip Glass and Cecil Taylor
sharing the bill.

Potentially as important as the Knitr
ting Factory’s stage for nurturing the
next generation of music is its record
label, Knitting Factory Works. The
Knit established its label in ’89 with a
series of compilation albums recorded
live at the club. The first two volumes
of “Live At The Knitting Factory”
were issued via A&M (before A&M
was purchased by PolyGram and the
Knit’s deal went by the wayside). Since
then, Knitting Factory Works has
issued more than 100 albums from
some of the finest musicians on the
scene (see discography, this page). And
despite modest resources, the label has
developed a flair for signing exciting
acts and getting their edgy music to an
elusive yet eager niche market

COLUMBIA SEEKS ALTERKNIT

Recognizing the Knitting Factory’s
unique vantage on the vanguard,
Columbia has just sealed a multiyear
deal to shepherd three or four of Knit-
ting Factory Works’ 24 or so releases
a year. The deal calls for the Knitting
Factory and Columbia to decide

SOUL COUGHING

together on which artists will go
through this arrangement, with
Ck>lumbia manufacturing, distributing,
and selling the albums internationally
via Sony Music Distribution. The Knit-
ting Factory and Columbia will mar-
ket and promote the Joint releases to
their respective retail and media con-
stituencies.

(Distributed for years by a network
of independents at home and abroad.
Knitting Factory Works has been
racked exclusively for the past year by
Koch International in the U.S.; the
label is distributed by various compa-
nies in Europe and by DIW/Disc Union
in Japan. These deals remain in place
for aU non-Columbia titles.)

To Steve Berkowitz, Columbia VP of
A&R, the pact with the Knit repre-
sents an investment in the future.
“There’s a great crossroads of music
going on right now, where jazz, hip-
hop, rock, world, and experimental all
meet,” he says. “Now that we’re at the
millennium, 1 feel like music is moving
again, and the Knitting Factory is
where a lot of the steps are being
taken.”

The open-mindedness necessary for
the Knitting Factory’s initial survival
has been what has enabled it to thrive
since. Oddly enough, the club has
developed its name into a recognizable
brand, a sort of “Ck>od Housekeeping
seal” for the avant-garde. “It’s always
been about developing this business —
however ad hoc — in order to support
an incredibly diverse creative labora-
tory,” says Dorf (who even lived in the
club diudng its first year). “With the
Columbia deal, 1 think more people
will b^[in to recognize that what we do
isn’t necessarily marginal, that it has
potential to reach a broader audience.
It’s an artificial thing, but I think the
Columbia imprint will actuaUy get our
music accepted even before it’s heard.”

As Berkowitz points out, Columbia

can obviously help Knitting Factory
Works approach a sizable element of
the marketplace that it couldn’t on its
own. But conversely, the Knit can
access an enthusiastic segment of the
music-buying public that Columbia
finds difficult to reach.

“I’m impressed that the Knitting
Factory can sell more Thomas Chapin
records than we can sell Henry
Threadgill records,” Berkowitz says.
“Even though the market for this
music isn’t easily identifiable, it’s def-
initely there. And with the Knitting
Factory’s artists, it’s as much the peo-
ple coming to the music as it is the
label taking the music to the people.”

The Columbia association will also
give Knitting Factory Works an un-
precedented shot at recording the up-
and-coming art-pop acts that debut
their wares in the club, such as a Soul
Coughing or a Skeleton Key, before
they escape to another label. ‘We have
an A&R source like no record compa-
ny in the world,” Dorf says. “We’re not
getting tapes from attorneys. We’ve
created a direct, ongoing opportunity
for discovery.”

Although the first Knitting Factory
Works artists to go through the
Columbia deal have yet to be deter-
mined, the best bets are saxophonist
Chapin, Steven Bernstein’s Sex Mob
(ace trumpeter Bernstein is also the
leader of Spanish Fly and musical
director for the Lounge Lizards and
the all-star “Kansas City” band), and
avant-pop singer/songwriter Rebecca
Moore. Bernstein has an album due in
late summer; Chapin and Moore have
records set for early fall.

LATE-NIGHT PLAYERS HANG

Originally housed in legendarily
coarse and cramped yet strangely con-
vivial digs on the edge of SoHo and the
East Village, the Knitting Factory
served from the start not only as a
showcase for new music but as com-
mon ground for musicians of diverse
genres and generations, races and
records. Clarinetist Don Byron has
played the Knitting Factory nearly 100
times as a band leader and sideman
and holds special regard for the club’s
communal atmosphere.

“In every era, there’s been a club
where the cutting-edge cats could find
a home,” Byron says. “With the Knit-
ting Factory, especially the old Knit,
it was a hang, where the musicians
were checking out everybody else. For
a lot of us, it was our neighborhood
bar, and there was always someone
you knew playing. For one thing, that
helped break down some of the segre-
gation on the scene. I think years from
now, people will look back on the Knit
days and say, That’s where it was hap-
pening. I was there, man.’ ”

Byron’s quintet will be part of the
lineup of February anniversary
shows, as will such fellow jazzers as
Geri Allen and James “Blo^” Ulmer
and rock acts Bob Mould, Yo La
Tengo, and the Violent Femmes.
Other attractions include Zom with
Bill Laswell, Vernon Reid, Marc
Ribot, Alex Chilton, Morphine side
band the Hypnosonics, monologist
Eric Bogosian, the Lounge Lizards,

Laurie Anderson, Elliott Sharp, and
Soul Coughing (on March 5).

Soul Coughing may have two Mod-
em Rock Tracks hits to its credit (fium
its latest SlaslvWamer Bros, album,
“Irresistible Bliss”), but the band’s
front man, M. Doughty, remembers
fix)m whence he came: He worked the
door at the Knitting Factory from ’92
to ’94. “The pay could’ve been better
certainly, but I got to hear a lot of cool
music,” he says. “My first night on the
job was the Jon Spencer Blues Explo-
sion’s third show — they played to
about five people. And my last night
was one of the last shows of John
Zorn’s Naked City, and that was some
amazing shit”

The Knitting Factory relocated two
years ago to a relatively posh, high-
tech home in the TriBeCa area. Even
though the Knit is now a multimedia
center outfitted with three perfor-
mance spaces (the main room holds
400 people), three bars, a recording
studio, and online and video broadcast
capabilities, the club still retains a
funky vibe as well as its original do-it-
yourself spirit and ear-to-tiie-ground
love for musical invention.

In many ways, Erik Sanko is the
model Knitting Factory musician. He
began playing the club in its first days

DORF

as the teenage bassist in John Lurie’s
enduring jazz ensemble, the Lounge
Lizards, logging nearly 40 shows from
the old to the new Knit. He also co-
founded the progressive pop trio Fer-
tile Crescent, which recorded a ’92
album for Knitting Factory Works (to
be rereleased this spring) before dis-
banding. In the past couple of years,
he has fronted Skeleton Key, one of
New York’s hottest alternative bands
(with an album due in March on Capi-
tol), and the Knit was the site of the
group’s breaking in.

“liie Knitting Factory sometimes
gets pigeonholed as strictly this avant-
garde jazz club, but it’s really a place
for all kinds of crooked music,” says
Sanko. “The thing that happens at the
Knit that’s so cool is that the David
Murray Octet will be loading out just
as Brainiac is loading in. I always
imagine that the guys are painted dif-
ferent colors, and that in passing by, a
little bit of one rubs off on the other.”

WHAT IS JAZZ?

Because it serves as an outlet for the
forward-minded fringe. Knitting Fac-
tory Works has “had to develop
aggressive guerrilla-marketing tech-
niques just to make people aware of
the records,” explains label manager
Mark Perlson. “It’s tough to get it
heard, but once people are exposed to
this music, you’d be surprised at how
many appreciate it

“An ariast like Thomas Chapin gains
new fans all the time,” Perlson adds.
“We know he could sell 30,000 copies
of his next album. For jazz, his stufi is
every bit as intense as Soundgarden,
and it’s no stretch to think that kids
could get into him, just as there’s no
reason why an older person who lis-
tens to Coltrane or Miles couldn’t.”

The Knitting Factory Works strat-
^y for presenting its music has come
to encompass both the actual and the

virtual, including regular package
tours of Knit artists in Europe and
America and innovative Internet pro-
motions.

The Knit arranged 25 tours last year
by such acts as Chapin, Moore, Span-
ish Fly, and Paradox Trio, each of
whom had new albums on Knitting
Factory Works. Dorf says that the
club may book as many as 35 treks this
year, with the artists including the
Montreux, Vienna, and other major
European jazz festivals in their itiner-

aries. At the North Sea Jazz Festival,
in the Hague, the Netherlands, the
Knitting Factory even has its own
stage.

The first chib to start Webcasting its
concerts nightly, the Knitting Factory
runs an impressive Internet site
(httpyAvww.knittingfactory.com). The
World Wide Web site includes a com-
plete label catalog with individual
musicians cross-referenced to the var-
ious albums on which they appear,
(Continited on next page)

Selected Discography Of
Knitting Factory Works

Don Byron Quintet, “No-Vibe
Zone,” 1996. A freewheeling live
document of ace clarinetist Byron’s
top-notch band of a while back,
including Mar-
vin “Smitty”

Smith on drums
and David
Gilmore on gui-
tar.

Thomas
Chapin Trio,

“Anima,” 1992.

Positioned alto
saxophonist and Knit regular
Chapin as a potent voice, with pas-
sionate playing and strong writing.
Compelling melodies and a classic
tone make the title track an ideal
intro to downtown jazz. Chapin’s
sixth Knitting Factory album is
scheduled for fall release.

Matt Darriau, “Paradox Trio,”
1995. Musical alchemy of a high
order, with jazz and gypsy airs
melding into an intoxicating whole.
The intrepid quartet’s next release
is set for May.

Liminal, “Nosferatu,” 1995.
Concocted as an accompanying
score in the Knit’s “Loud Music,
Silent Film” series, this dark,
atmospheric album more than
stands on its own as an involving,
pioneering effort in the nascent ill-
Went field. A new disc, “Lounge,”
appears in April.

Arto Lindsay Trio, “Aggre-
gates 1-26,” 1996. Heavy-breathing
haiku from a mainstay of the
downtown New York scene, this
record serves as an object lesson
in power-trio deconstruction.

Rebecca Moore, “Admiral
Charcoal’s Song,” 1996. A woefully
overlooked album of dark drama
and hypnotic beauty that fans of
singer/songwriters as diverse as
Jane Siberry and Kristin Hersh
would love. Moore is a talent to
watch, with a new album due this
fall.

Myth-Science, “Love In Outer
Space,” 1995. An irresistible late-
night romp through the Sun Ra
songbook, with the sax-driven
quintet recorded live in the Knit’s
tap bar.

Steve Naive, "It’s Raining
Somewhere,” 19%. Subtitled “con-
templative jazz,” this shimmering
solo album by Elvis Costello’s
pianist is the most accessible

album on Knitting Factory Works,
and artfully so.

Prima Materia, “Peace On
Earth,” 1995. An energized
homage to the majestic music of
John Coltrane, with the quintet
featuring Coltrane’s late-period
drummer, Rashied Ali.

Tronzo Trio, “Roots,” 1994.
Down home downtown. Slide gui-
tarist extraordinaire Dave Tronzo
has played in myriad contexts,
though he bums brightest here on
this spirited showcase.

Various artists, “Avant Knit-
ting Tours 1993.” One of the best
Knit discs put together to promote
the club’s package tours, this
album includes live and studio cuts
from acts both avant-rock (the
Fertile Crescent, Samm Bennett,
Oren Bloedow) and avant-jazz
(New & Used, Roy Nathanson &
Anthony Coleman, the Charles
Gayle Trio),

Various artists, “Live At The
Knitting Factory, Volume 2,” 1990.
Classic tracks from the label’s
early days, ranging from Chunk’s
wonderfully off-kilter art-pop gem
“Part Of The Family” to late
heavy-metal-jazz guitar god Sonny
Sharrock’s bruiser “Dick Dogs.”

Various artists, “Klezmer; The
Tradition Continues On The Lower
East Side,” 1993. The Klezmatics,
John Zorn’s Masada, Paradox
Trio, the Billy Tipton Memorial
Saxophone Quartet, and others
contribute their takes on an age-
old form that jerks tears as it
moves feet.

Various artists, “New York
Downtown: Jazz And Other
Sounds,” 1996. An absorbing, well-
sequenced scan through the Knit-
ting Factory Works catalog, with
highlights from most of the previ-
ously listed artists as well as DJ
Spooky, Suck Pretty, and Wayne
Horvitz & Zony Mash, whose
upcoming album is a super-cool
soundtrack for the wee hours.

Various artists, “What Is Jazz?
Festival 1996.” From the Charlie
Hunter Quartet’s sanguine groove
to the grace and power of Myra
Melford’s band, this disc samples
the latest performances from
what’s become the jazz festival in
New York.

BRADLEY BAMBARGER

BYRON

BILLBOARD FEBRUARY 1. 1997

KNiniNG FACTORY CELEBRATES 10TH ANNIVERSARY

(Co»thtued/7vw preceding page)

artist bios, music samples, a list of
upcoming shows and international
tour dates, and info on buying CDs
directly from the club (Knitting Fac-
tory Works titles are also available
via the CDnow online buying ser-
vice). There’s even a computer in the
musicians’ dressing room to facili-
tate backstage chat sessions with
fans.

“More than anything, the Knitting
Factory* is a conduit between this rich
music scene and the public,” Dorf
says. “And the Internet is the ulti-
mate extension of the club as that
medium, helping us get the artists’
expression to the people as com-
pletely and efficiently as possible —
whether they live in Stuttgart,
Malaysia, or Toledo, Ohio.

“You know, it may not be the most
appropriate use of the Columbia deal

to get [saxophonist! Charles Gayle —
important free-jazz artist though he
is — into eveiy Best Buy,” Dorf adds.
“That wouldn’t really help him.
Through the Internet, we can better
reach the 15,000-20,000 people
around the world who are seriously
into his music.”

Beyond the Internet and touring,
the Knit relies on a web of support-
ers in the press and at retail and
radio— many of whom reserve their
greatest enthusiasm for acts like
(3ayle and Zorn, who have come to
represent what people outside New
York regard as the quintessential
downtown sound. Derek Milner, a
manager at Waterloo Records in
Austin, Texas, says, “You can buy a
pop record from anywhere, but the
downtown New York jazz scene is
unique. That improvised music is uni-

versal and will always have an
appeal.”

Koch VP of sales and marketing
Michael Rosenberg says that even
though Knitting F’actory Works “isn’t
a hit-driven label, there’s an audience
out there for every release. Tw'o vei*j'
different albums, the DJ Spooky
record and Joe Gallant’s ‘Blues For
Allah,’ both did well last year.” He
adds that he expects the disc docu-
menting the first meeting of gui-
tarists Pat Metheny and Derek Bai-
ley, due in May (see story, this page),
to be the label’s best-selling ever,
even with its edgy content.

From ’88 to ’91, the Knitting Fac-
tory broadcast a scries of its record-
ed shows on as many as 225 college
and public radio stations. Dorf says
he is shopping for an outlet to renew
the series. In New York last summer.

Bailey, Metheny Make ‘Four’ At The Knit

Guitarists* Collaboration To Be Issued On Club Label

m BY BRADLEY BAMBARGER

NEW YORK — It certainly wasn’t for
everybody. Akin to some of the more
polarizing moments from the Knitting
Factorj^s early years (see story, page
1), the squalls of exploratory sound cast
by guitarists Pat Metheny and Derek
Bailey during the first of their four
show's at the Knit in December sent a
good portion of the audience scram-
bling for a prompt egress. But again,
those w'ho braved the high-volume
intensity (with the aid of earplugs)
were treated to an exciting, even his-
toric, display of extemporaneous music
making.

Metheny, though increasingly
knoNvn for his bold side projects, is one
of the jazz world’s few crossover stars,
selling records in the hundreds of thou-
sands, filling theaters worldwide, and
racking up Grammys like clockwork.
His latest Metheny Group album,
“Quartet” on Geffen, has been No. 1 on
Top Jazz Albums for weeks, and an
intimate disc of duets with bassist
Charlie Haden for Verve, “Beyond 'The
Missouri Sky,” is bound to vie for the
top spot upon its February release. So
it has no doubt surprised many to see
an artist with Metheny’s profile not
only playing a set of experimental gigs
at a relatively small dowmtown club —
the Metheny Group fills venues 20
times the size — but documenting the
show's and subsequent studio sessions
for an album to be released by the
club’s label, Knitting Factory Works.

A legend in freely improvi^ music,
Bailey has pursued his muse with
monk-like devotion over the past 40
years, playing countless gigs around
the world, recording scores of albums,
co-founding a record label (Incus),
writing a fascinating pan-musical study
of improvisation (“Improvisation: Its
Nature And Practice In Music,” Da
Capo), and organizing other artistic
ventures in the aim of advancing the
improvisatory art Preferring the com-
pany of percussionists and even jungle
DJs over other players (the thrilling
“Guitar, Drums’n’Bass” with DJ Niiy
on Avant is an inspired pairing), Bailey
has especially shied away from team-
ing with fellow guitarists.

The record of unlikely collaboration
between Metheny, the major-label
muso, and Bailey, the avant-garde
striver, is due out in May. Stated as a
multidisc set, “The Sign Of The
Four” — with Metheny and Bailey in
league with frequent Bailey percussion

partner Gregg Bendian and Metheny
Group drummer Paul Wertico — ^will be
culled from the more than eight hours
of music produced by the quartet’s
gale-force electric sets and more intro-
spective, acoustic studio sessions.

Regardless of the overall tenor of its
final makeup, “The Sign Of The Four”
will simultaneously be one of the most
vilified and venerated records of 1997.
And all the hoopla will undoubtedly
help make it the best-selling Knitting
Factory release out of the box to date.
(The album will be distributed in the
U.S. by Koch International and by var-
ious companies in other territories.)

As with “Song X,” Metheny’s
acclaimed 1985 collaboration with free-
jazz pioneer Ornette Coleman, the gui-
tarist’s goal was to adapt and employ
his style of improvising to complement
a longtime hero’s surprisingly sympa-
thetic yet highly individual musical im-
print. “Derek has been an important
musician for me since I was a teenag-
er,” Metheny says. “He creates a spe-
cial musical environment, with a use of
time and space that’s absolutely his.”

Currently coursing through the
recorded material, Metheny reports,
‘The scale and sonics are awesome.
It’s one of the coolest things I’ve ever
been part of. There’s always a certain
energy that comes from people play-
ing together for the first Ume, but you
always have to approach a complete-
ly open situation like this as kind of
like a 747 going down a runway: You
hope it lifts ofr — although sometimes
it crashes and bums. In this case, it
did more than take ofr: It flew around
the world.

“It reminded me of ‘Song X’ in that
we were getting into a zone where we
were determinedly taking this sort of
playing to its ultimate logical conclu-
sion, rather than just using it for color,”
Metheny adds. “I think this ^vilI be a
record of lasting value. And I’m not
sure I thought that going into it”

For his part, Bailey says that part-
nering with Metheny was “a revelation.
I was familiar with his name but not his
playing. But he’s a great listener, a
truly sensitive player. And his use of
technology is so inventive. I don’t think
he’s really worked in totally free situa-
tions much before, but he t^k to it like
a duck to water. He’s an adventurous
musician, and that’s unusual. Even in
so-called free circles or the avant-
garde, people aren’t that adventurous,
really. Pat takes risks, and he doesn’t
have to.

“I think it’s going to be an extraor-
dinary record,” Bailey adds. “Each per-
formance was markedly different The
electric stuff was quite dense, a huge
array of sound with both of us playing
with all the percussion. And 1 quite like
the quieter things. You can discern
more from moment to moment.”

Michael Dorf, owner of the Knitting
Factory, appreciates to no end Methe-
ny’s choice of Knitting Factory Works
as the home for his work with Bailey.
“For a musician of Pat’s magnitude to
recognize the value in what we do and
participate with us is a real blessing,”
he says.

Mefiieny says that “The Sign Of The
Four” was intended as a Knitting Fac-
tory Worte release from the beginning.
“For this kind of music, it’s the perfect
label,” he says. “They know just what it
is and how to get it to the right audi-
ence.

“The Knitting Factory represents
what I wish existed more in America:
somebody or some place that is able to
transcend categories and offer music
in a pure way,” Metheny continues,
adding that he is even considering play-
ing a monthlong stand at the Knit next
year with the Metheny Group. And, he
says, that really shouldn’t surprise any-
one: “I don’t Iwy this superstar thing.
The difference between me and John
Zom is a lot less than the difference
between me and Alanis Morissette.”

the Knit’s music found its way on the
air \ia Columbia University’s WKCR,
which aired six nights live from the
club during the ninth annual Knitting
Factory What Is Jazz? Festival.

Begun as a reaction to the conser-
vatism of the JVC Jazz Festival, the
What Is Jazz? Festival has become
enormously successful, spi'eading out
to multiple indoor and outdoor
venues. This year, the event — to be
held June 17-30 in nearly every con-
ceivable setting, from the Knit to the
Village Vanguard to Central Park —
is changing its name to the New York
Jazz Festival, representing its new
prestige and drawing power.

Continually working to expand the
audience for new sounds, Dorf Isn’t
content \sith festivals and Webcasts:
He plans to colonize. The Knitting
Factory opened an office in Amster-
dam in 1992 to facilitate its European
tours and distribution. Dorf says that
a second Knitting Factory club will
soon open across the Atlantic, with
arrangements being finalized with

the South Bank Centre (home of
Royal Festival Hall) for a London
Knit.

The global appeal of what the Knit-
ting Factory stands for is best
summed up by saxophonist Lurie,
who has not only played weeks on end
at the Knit with the Lounge Lizards
and his National Orchestra but has
shown his “Fishing With John” films
(angling with the likes of Tom Waits
and Willem Dafoe) there to great
effect.

‘The Lounge Lizards were placing
this three-week run at the Knitting
Factorj' a couple of years ago,” Lurie
recalls, “and there w'ere nights when
it was incredible. There w'as so much
love there with the band that I
thought, ‘God doesn’t want me to
make things out of pla.stic. This w’as
why I w'as born: to make music.’
Times like that happen because the
club is loose. It’s not show business,
it’s not corporate — and everything
else is. The Knitting Factorj' is about
music.”

BUENA VISTA PUMPS UP ITS VIDEO PROMOS

(Contimied from page 6)

retailer.”

The Value Packs come in five dif-
ferent configurations pairing “Poca-
hontas,” “The Aristocats,” “James And
The Giant Peach,” “Oliver And Com-
pany,” “Aladdin And The King Of
Thieves,” and “The Many Adventures
Of Winnie The Pooh.”

Although retailers have reported
slow sales for many of these titles. Rice
says the Value Pack plan wasn’t devel-
oped to handle returns.

“The market for these titles hasn’t
been totally saturated,” says Rice.
“We’ve been hitting our numbers and
then some, and our seasonable busi-
ness has never been stronger.”

He adds that sales of “Winnie The
Pooh” have reached 8 million units.

The supplier’s second direct-to-
video “Pooh” feature, “Pooh’s Grand
Adventure: The Search for Christo-
pher Robin,” arrives in stores Aug. 5,
priced at $24.99.

Retailers will more than double
their profit margins for the Value Pack
titles, which can be under $1 for a typ-
ical new animated Disney title.

“I’d rather return the inventory we
have now and carry the two packs,”
says one buyer at a major chain.

Other new titles on the schedule
include the little-known animated fea-
ture “Fun And Fancy Free,” featuring
Walt Disney as the voice of Mickey
Mouse, due in stores July 15. The 1947
feature has never been available on
video.

“We’re looking at a lot more compe-
tition and clutter in the marketplace,”
says Rice. “We have to make sure we
capture demand for our titles.”

Industry sources also report Buena
Vista w'ill sneak its holiday live-action
hit “101 Dalmatians” into the April
schedule. However, Rice denies the
report.

Within the first quarter, Buena
Vista will face competition from
“Space Jam,” “Harriet The Spy,” “Fly
Away Home,” a special wide-screen
edition of “Independence Day,” and a
slew of new low'-priced kids’ titles from
the likes of “Sesame Street” and
“Thomas The Tank Engine And
Friends.”

At the heart of Buena Vista’s 1997
promotional campaign is the “Disney
Video Rewards” continuity program.
Consumers who purchase eight par-
ticipating Disney titles wll receive a

free video, and those who purchase 12
receive t\vo free \ideos.

To participate in the program, con-
sumers must collect proof-of-purchase
stickers and apply them to a card
found inside cassettes of “Bambi” and
‘The Hunchback Of Notre Dame.”

Consumers must purchase both
titles, “Honey We Shrunk Ourselves,”
and de.signated Disney Video Collec-
tion titles to complete the card.

Other titles included in the promo-
tion are “Mary Poppins,” “Fun And
Fancy Free,” and “Sleeping Beauty.”
Six other titles will be added to the
promotion at a later date.

Consumers will have to hurry to
complete the card because “Bambi”
W'ill be pulled from the market on
March 31. The title arrives in stores
Feb. 4, priced at a suggested list of
$26.99. The entire collection in the pro-
motion will be pulled from the market
on Dec. 31.

When the card is complete, pur-
chasers can select among 22. videos for
their free tape. Free selections include
“Bedknobs And Broomsticks,” “The
Parent Trap,” “The Love Bug,” ‘Trea-
sure Island,” and others in Disney’s
Family Film Classics line.

For the first time, Buena Vista will
be rereleasing two classics, “Bambi”
and “Sleeping Beauty,” within the
same year.

When first released in 1989,
“Bambi” sold 8 million units, according
to Buena Vista. “Sleeping Beauty,”
first released in 1986, sold about 1 mil-
lion imits, according to the company.

However, the clas.sic cupboard
hasn’t been completely cleaned out In
November, Disney will theatrically re-
release ‘The Little Mermaid,” which
will most likely be a spring 19^ video
release. The 1989 video hit is one of the
most highly anticipated Disney re-
issues.

In addition, the new animated “Her-
cules” is scheduled for a June theatri-
cal release and could be on the studio’s
fourth-quarter video schedule.

Other Disney collections included in
the seven-month promotional plan are
“The Haley Mills Collection,” ‘The
Fantastic Adventure Series,” “The
Great American Epic Series,” and
“The Love Bug Collection.”

Several of these titles will feature a
$2 instant rebate with additional Dis-
ney title purchases.

BILLBOARD FEBRUARY 1, 1997

INFINITE ZERO TO REISSUE MONKS’ ‘BLACK MONK TIME’

(Continued from page 10)

amplified by two pickup mikes, resem-
bled the concussive sound of a work-
man banging on a piece of sheet metal
with a large mallet
The Monks applied their shrieking-
ly abrasive style to such boldly
assertive original material as “Shut
Up” and “I Hate You.”

Explaining the Monks’ extreme
attack, Shaw says, “If [an artist] wants
to move on, he begins to react to every-
thing that seems to be popular, and we
just began to react . . . [And] when you
start playing with the new toys when
they start coming out, you start find-
ing new things to do with them. Before,
it was always that Fender [guitar]
soimd. Then all of a sudden, here’s new
toys — a Gibson fuzz box, a wah-wah
pedal — and you go, *Wow, this is new.
What do I do with this?’ ”

Manic and untamed, “Black Monk
Time” failed to attract an audience, and
neither did a couple of misguidedly
“commercial” singles cut later.
Exhausted by extensive tours and long
residencies at grimy venues like Ham-
bui^s Top Ten Club, the Monks frag-
mented in 1967 after Johnston quit the
group on the eve of an Asian tour.

Though they opened German shows
for such storied acts as Jimi Hendrix,
the Kinks, and the Troggs, the Monks
appeared destined to become
rock’n’roll footnotes, until their die-
hard fans brought their unusual histo-
ry to the public at large.

Writer-editor Stax first heard a tape
of “Black Monk Time” in the early ’80s.
“It blew my mind,” he says. “I couldn’t
believe it. Most people who hear the
record either laugh, or don’t get it, or
they’re completely blown away.”

For years, Stax tried to track down
the members of the Monks, but they

(Continued from page

to use our resources to help each other
rather than fighting each other.”

An allied element of the summit
meeting’s consensus is the intention to
establish an enhanced pan-European
copyright service along the lines of the
existing Bureau of European Licens-
ing, in which MCPS and Germany’s
GEMA are partners. Through such an
organization, individual societies would
pool information resources and data-
bases, thereby creating economies
through the avoidance of duplication
of information.

Emborg is enthusiastic about the
concept However, asked whether such
a liaison runs counter to the cross-bor-
der competition envisioned by the
European single market and implicit
in the concept of direct distribution, he
commented, “This is the old question
about competition and copyright.”

Emborg argued that copyright can-
not be treated as a commodity. He con-
tended that authors’ rights in Europe
were so generous solely because their
representatives had had the resources
to lobby for them and create favorable
political and market conditions. He
said that, because of the strength of
Anglo-American repertoire, publish-
ers and writers in the U.K. and U.S.
were benefiting significantly from the
lobbying successes of the continental
societies.

Tournier adds, “I don’t think we
have created a cartel. The agreement
will be sent to Brussels, and we’ll see
if [the government of the EU] has any
objection. But I don’t think they’ll
object in the end because the result for
the public is that music v^ill be far less
costly.”

proved elusive until 1991, when a
friend, musician Keith Patterson of the
Minneapolis band the Spectors,
screened some Monks videos culled
from German TV at his home.

Stax says, “One of the people who
was watching these videos said, T know
this band! That’s my uncle Ed playing
the bass!’ This guy, through some
bizarre [coincidence], was related to Ed
Shaw.”

Patterson and Stax’s interviews with
Shaw and Burger, with a history of the
band by Shaw himself, appeared in the
spring 1992 issue of Ugly Things. The
features sparked new interest in the
Monks from unexpected quarters.

Shaw recalls, “I got a cail from some
movie producer in New Jersey who had
read that interview and wanted to have
an option on doing the story. Since 1
was trying to be a writer, and I’d writ-
ten a bunch of things with many, many
rejection notices, I said, Well, then, let
me write a book about it, and I’ll sell
you the option to the book.’ ”

The book “Black Monk Time,” pub-
lished by Shaw's own Carson City,
Nev.-based Carson Street Publishing,
tells the story of the band through the
eyes of two strangers in a strange land:
American innocent-abroad Shaw and
his wife Klemke, who had escaped from
communist East Berlin. Both a detailed
inside look at ’60s beat culture and one
of the best accounts ever penned about
life in a working rock’n’roll band, it
received strong reviews.

In 1992, Kugclberg— who had been
introduced to the Monks album in 1982
by Swedish punk musician Stefan
Ahlqvist — independently interviewed
Shaw, Burger, and Day for a two-hour
radio special that aired on the listener-
sponsored free-form station WFMU

The Cannes accord is the second
globally significant deal struck by pub-
lishers and collecting societies at con-
secutive MIDEMs.

Last year, EMI Music Publishing
chairman Martin Bandier agreed on a
formula for peace talks with the Euro-
pean societies over his complaint about
high commission rates. To precipitate
action, EMI had established its own
collecting body. Music Rights Society
Europe (MRSE), to act as a spur to the
existing bodies. Bandier openly stated,
though, that MRSE was calculated to
be an irritant and a spur to talks.

Asked whether direct distribution
was conceived in a similar vein,

‘COPS’ COMPETITOR

(Continued from page 6)

claimed that Diamond had infringed on
the “Cops” copyright and trademark.

Barbour/Langley attorney Eric Dia-
mond says that while his client does not
have an exclusive right to do “police
action follow-along programming,” the
box art and logo of “Real Cops In
Action” are too similar to his client’s.

“The Diamond video gives con-
sumers the impression that it’s the next
video in the ‘Cops’ series,” says Dia-
mond. “If you look at the two boxes, it’s
an obvious conclusion.”

As a source of evidence of the actu-
al confusion, the injunction filing lists
an affidavit from a video retailer stat-
ing that he thought “Real Cops In
Action” was from Barbour/Langley.

According to the preliminary injunc-
tion, Barbour/Langley “owns a service
mark” recorded with the U.S. Patent and

New York.

Kugelberg says, “When I started
working for Rick [Rubin] at American,
I of course immediately pitched the
Monks album to our reissue label Infi-
nite Zero, and started having conver-
sations with the Monks’ German label.
The logistics of ownership and rights
and all those things were very, very
convoluted, but we finally came to an
agreement to give this record an Amer-
ican release.”

Some U.S. collectors are already
familiar with the “Black Monk Time”
album via a spottily distributed 1994
CD reissue on Germany’s Repertoire
Records.

Some independent retail outlets, like
L.A.’s Rhino Records, have seen
healthy sales of the import among
cultists. Rhino buyer Allan Larman
reports that the store sold close to 40
copies of the Repertoire release on its
initial release and that it has continued
to sell; the store has sold nearly 50
copies of Shaw and Klemke’s book as
well.

“[The album] has sold remarkably,”
Larman says. “It was this mysterious
thing that people heard about, but
hadn’t heard ... I don’t think the audi-
ence for this has been tapped into yet
The [German] CD has been very hard
to get — the book is almost easier to get
than the CD.

“We plan to do a window display
when [the Infinite Zero set] comes out
We \vant to be the No. 1 Monks outlet
store.”

Infinite Zero label manager Lynn
Nakama says that the label plans a spe-
cialized advertising campaign to sup-
port the reissue in such collector-ori-
ented magazines and fanzines as Ugly
Things and Goldmine.

Hutchinson says, “No. When it was
introduced, it was a legitimate busi-
ness agreement.”

He concurs, though, that it has
achieved its desired aim of a more effi-
cient channeling of monies to conti-
nental European publishers.

Its other effect of uniting the soci-
eties is particularly apposite, accord-
ing to Tournier, because of the new
round of mechanical royalty rate nego-
tiations with label representatives. He
says that it w’ould have been divisive
for the societies to be battling one
another at a time when they should be
presenting a united front to the record
companies.

Trademark Office for the word “Cops.”

Under the preliminary injunction.
Diamond is ordered to immediately
cease distribution of the video and pull
existing copies from video stores.

The Diamond title was released on
Nov. 23, 1996. Six Barbour/Langley
titles have been in stores since last
summer, with cumulative sales of 2 mil-
lion units, according to court papers.

Barbour/Langley also filed a copy-
right-infringement lawsuit against Dia-
mond Jan. 6.

At press time. Diamond Entertain-
ment said it had renamed its product
“Real Police In Action” during the pen-
dency of the suit, and had ordered new
jackets for its videos. It is also replac-
ing current inventory, according to a
company statement

EILEEN FITZPATRICK

Infinite Zero, which usually services
its releases to press and radio on^ min-
imally, will be more liberal with pro-
motional copies of “Black Monk Time.”
Nakama says, “We’ve been getting a
lot of press requests for it already.”
She adds that as a special item for
retail, ‘We’re maybe going to pouch-
bag the CD with the book. We’re still
working on the details on that”

For the future, a movie version of
the “Black Monk Time” saga is still a
possibility, according to Shaw. “I just
resold the option to some new people
in LA,” he says.

(Continued from page 9)

1996. Previously, the group was on the
Belgian label Crammed Discs, which
had distribution in Europe via Sony
and PolyGram. Though Virgin has
scheduled the album for a Feb. 3 re-
lease, it will be held briefly in some ter-
ritories to coincide with Zap Mama’s
tour schedule.

Zep Mama’s last album, 1994’s “Sab-
sylma,” added Middle Eastern and
Australian influences to the African-
European hybrid of its first album,
1993’s “Adventures In Afropra l.”The
two albums have sold a combined total
of 500,000 units worldwide, according
to Bart Cools, international marketing
manager at Virgin in London. The
group is managed by Teddy Hillaert in
Brussels.

Daulne and executives at Warner
and Virgin agree that “7” puts them in
a good position to build on Zap Mama’s
fan base. Internationally, the single
“New World” with U-Roy was serviced
to radio Jan. 20. It ^vill be released com-
mercially in Belgium and Holland,
where Zap Mama has done especially
well.

In the U.S., the album will ship to
college and public radio upon release,
and the single “Poetry Man” will be
serviced to triple-A and alternative out-
lets a few weeks later, according to Stu
Cohen, senior VP of promotion (U.S.)
at Warner Bros.

Depending on how receptive radio is
to the track, Warner Bros, will work
the single at top 40 stations, and Cohen
is optimistic about its prospects.

“For the first time, they’ve given us
a record we can take to commercial
pop, and I think we have a shot at a hit
single. It’s a more commercially acces-
sible record, and I feel confident we can
take them to the next level of success,”
Cohen says.

Peter Standish, Warner Bros. VP of
product management (U.S.), who was
product manager on Zap Mama’s first
two albums, adds that Daulne “is
emerging as a real special performer
on this album.”

Daulne, who has her own publishing
company, Kesia Edition, says fans of
their previous albums will recognize
those elements that appealed to them
on past releases.

John Coughlan, world music buyer
at Tower Records’ Lincoln Center
store in New York, is looking forward
to the new release and says fans will
expect something different “They’ve
got a big cult following, and people will
definitely come in looking for it. One
thing that makes Zap Mama interest-
ing is that they don’t stand still.”

Touring and press coverage, the key
marketing factors that propelled Zap
Mama’s first two albums to success,
will continue to be the most significant
avenues to get the word out about “7.”

Warner Bros, will focus on the usual
grass-roots efforts, including college

Some of the Monks have reunited in
the ’90s: Burger, Shaw, and Day cut a
cover of “Don’t Ha Ha” by the Monks’
old Frankfurt rivals Casey Jones & the
Governors. Day markets the single
through his own Renton, Wash.-based
label, Day Records.

But Shaw holds out no hopes for a
Monks high mass: “We were offered 17
[reunion] gigs for $100,000 (per man],
and I said, ‘Let’s not do it, bemuse well
destroy the thing’ . . . Music is self-dis-
covery, and I wouldn’t want to be a
trained seal.”

and public radio specialty shows, to
reach the group’s fans. In addition, all
general media outlets, including tele-
vision, will be targeted.

Zap Mama has been well received by
European critics, and Virgin expects
that it will help in more ways than one.

"We’re taking a territory by territo-
ry approach,” says Virgin’s Cools.
“Theyre hugely known in some coun-
tries, whereas in [some] others it’s a
case of starting from nowhere. But
they’re very well known among the
media, so even if the (local label] isn’t
into it yet, they’ll be getting calls from
(Continued on page 8S)

MOBY ROCKS OUT

(Continued from page 9)

pained” songs. “What can I say; it was
a difficult winter,” he says with a
laugh, adding that he played all of the
album’s instruments — save for the ap-
pearance of violinists Hahn Rowe and
Hugo Largo on two songs.

While the artist says he is not “pre-
sumptuous enough to think that every-
one will accept this change en masse,”
longtime fans at club level are finding
“Animal Rights” a logical musical pro-
gression.

“First of all, if I can accept and sup-
port the idea of U2 making a dance
record, I can get with Moby wanting to
rock out,” says Marco Novo, a club DJ
in Los Angeles. “I’ve been playing
‘Come On Baby’ from the album, and
my crowd is loving it”

Jimmy Trember, a club jock in Dal-
las, adds that “anyone who has ever
really understood who Moby is as an
artist saw this coming. I wouldn’t be
surprised if there were dance mixes to
stuff from this album at some point”

With the pre-release foundation for
“Animal Rights” firm, the next task for
Elektra is assuring that the album will
be properly racked. “There is a danger
that it will be systematically slotted
under ‘dance’ simply because of Moby’s
history and catalog,” says Venable.

To combat this problem, Elektra
locals have been personally presenting
the music of "Animal Rights” to buy-
ers all over the country.

“The label’s focus and commitment
to this album is admirable,” says Tim
Devin, manager of Tower Records in
New York. “And I think it will work.
I’m already seeing a lot interest in this
album, and 1 think the energy of the
label is going to push it over the top.”

Elektra will now concentrate on
assembling a tour that should keep
Moby on the road well into the fall. He
will begin with a showcase at Don Hill’s
in New York Feb. 5, with an eye
toward dividing the spring between
headlining gigs and an opening slot on
a m^or tour.

TRUCE REACHED IN MECHANICALS DEBATE

ZAP MAMA EXPANDS SOUND

BILLBOARD FEBRUARY 1, 1997

ghit':.

siivoi.Ks;

SPOTLIGHT

by Theda Sandiford-Waller

Hot SAUCE: “Wannabe” by Europop group Spice Girls (Virgm) is the
only non-R&B single in the top 10 of the Hot 100 Singles Sales list. Even
without special pricing, sales of “Wannabe” more than doubled, to 53,000
units, prompting the single to jump 12-6 on Hot 100 Singles Sales and 11-6
on the Hot 100. The song is steadily gaining at radio: Its audience impres-
sions improved by 27%, good enough to spur a 25-17 move on Hot 100 Airplay.
‘Wannabe” is ranked No. 1 at four monitored stations, including airplay lead-
ers KQKS Denver (90 detections) and KUBE Seattle (82 detections).

Multitalented: “Everytime I close My Eyes” by Babyface (Epic)
bows on the Hot 100 at No. 19. The single is also the highest new entry, at No.
17, on Hot 100 Singles Sales, with 20,000 units scanned.

Though not available as a single, Kenny G’s smooth jazz rendition of the
same song featuring Babyface’s vocals is on the saxophonist’s album “The
Moment” (Arista).

“Can’t Nobody Hold Me Down” by Puff Daddy (Featuring Mase) (Bad
Boy/Arista) motors 32-11 on Hot 100 Singles and vaults 17-7 on Hot 100 Sin-
gles Sales because its sales double. “Can’t Nobody Hold Me Down” sold near-
ly 50,000 units, according to SoundScan. These sales account for 85% of the
single’s Hot KK) points.

Babyface beat Sean “Puffy” Combs by one song for the number of times
they appear as a writer, producer, or artist on the Hot 100. Babyface is cred-
ited on six Hot 100 titles, at Nos. 19, 21, 30, 31, 43, and 68. Combs receives
credits on five Hot 100 titles. Nos. 11, 15, 24, 45, and 88.

Hindu PSALM: Spiritual Hindu references make “Lakini’s Juice” by Live
(Radioactive^CA) one of the most unique hard-rocking songs since the Bea-
tles met Ravi Shankar. Lakini is the Hindu goddess of destruction. “Laki-
ni’s Juice” debuted at No. 3 on both the Mainstream Rock Tracks and Mod-
em Rock Tracks charts. It also levitated 33 positions, to No. 36, on Hot 100
Airplay as a result of an 87% improvement in audience impressions, now 19
million. “Lakini’s Juice” is No. 1 at 10 of the 93 Hot 100 monitored stations
spinning the track, including W6CN Boston (43 detections) and KROQ Los
Angeles (36 detections).

NeXT: Among the titles that will appear on the Hot 100 within the next few
weeks are “Please Don’t Go,” the second single from No Mercy (Arista),
which hit stores Jan. 21 and is eligible to chart next week, and New Edition’s
just-released Spanish-language version of “I’m Still in Love Wth You,” titled
“Siempre Tu” (MCA). The release schedule picks up significantly on Jan. 28
with “It’s In Your Eyes” by Phil Collins (Face Value/Atlantic), “Sleepy Mag-
gie” by fiddler Ashley Macisaac (A&M), and “Get Me Home” by Foxy
Brown (Def Jam/Mercury).

Look for “Discotheque” by U2 (Island), “Just Another Day” by John Mel-
lencamp (Mercury), “Say . . . If You Feel Alright” by Crystal Waters (Mer-
cury), and “I Want You” by Savage Garden (Columbia) to hit retail Feb. 4.
The following week, stores will get “Don’t Qry For Me Aigentina” by Madon-
na (Warner Bros.) and “Hello” by Poe (Modem/Atlantic). Release dates, natr
urally, are subject to change.

BUBBLING UNBEB K

TITLE

ARTIST (LABELtl^OMOTION LABEL)

FIRED UPi

fUNKT GREEN DOGS (TWISTEIVMCA)

THE FOUNDATION

XZIBiT aouomcA)

PASSION

KS (BOBBINS)

IN YOUR WILDEST DREAMS
TINA TURNER FEAT. BARRY WHITE (VIRGIN)

WE DANCED ANYWAY

OEANA CARTER ICAPITOL NASHVILLE)

NOSENOR

JONNY Z (PUMPA3UALITY/WARLOCK)

IS THAT A TEAR

TRACY LAWRENCE (ATLANTIC)

MACARENA (COUNTRY VERSION)

THE GRCXTVEGRASS B0Y2 (DAPRINT)

WITHOUT YOUR LOVE

ANGEUNA (UPSTAIRS)

AUVE

PEARL JAM (EPIC)

(YOU ARE MY) FANTASY

ADD FACTOR FEAT MARGIE U. (STREET BEAT)

EVEN FLOW

PEARL JAM (EPIC)

MIU

GARBAGE (ALIAO SOUNDSAjEFFEN)

TITLE

ARTIST (LJLBEUPROMOTION LABEL)

JUST WANNA PLEASE U

MONA LISA (ISLAND)

NEVER MISS THE WATER

DtfWlVWOCAT MESHEU)«(IXOCELLO(«EPRISEI

YOU COULD BE MY BOO

’-(AWKrISOFUT Fim<r«MSlW’A(C:.N£TP{(,VTGK!

PUMPIN'

PflOYECTO UNO (M.0.L.AJI8LAN0)

THEMC
KRS-(0NE (JIVE)

MAYBE HE'LL NOTICE HER NOW

HMrriKCIEWnFU) lO«STM?SRO(EU:tOKU£r> 8Hi:

BEFORE 1 UIY (YOU DRIVE ME CRAZY)

CECE PENISTON (ASM)

IDO

PAUL BRANOT (REPRISE)

ONLY LOVE

THE BRAXTONS (ATLANTIC)

CHANGE MY MIND

J(MN BERRY (CAPITOL NASHVILLE)

POOR, POOR PmFUL ME

TERRI CURK (MERCURY NASHVILU)

STRESSED OUT

A TfdBE CALLED QUEST FEAT. FAITH EVANS Unt)

Bubb<rng Undec lists the top 25 singles under No. 100
which have not yet charted.

BLOODHOUND GANG IS ON A FIERCE’ ROLL WITH GEFFEN

(Continued from page 9)

In fact, it was largely the success of
the song on several migor-market sta-
tions that inspired Geffen to pick up the
album from Republic and rerelease it
in a slightly altered version as “One
Fierce Beer Coaster” on Dec. 3 (Popu-
lar Uprisings, Billboard, Nov. 16, 19%).

“One Fierce Beer Coaster” broke
into the top half of The Billboard 200 at
No. 85 for the week ending Saturday
(25), making the Bloodhound Gang a
Heatseekers Impact act

This week, “One Fierce Beer Coast-
er” sits at No. 62 and has sold more
than 80,000 units, according to Sound-
Scan. The Republic release accounts
for an additional 6,000 units, reports
SoundScan.

The original marketing strategy by
independent Republic was relatively
small scale when the album was
released in September of last year.

‘We were just following a regular
game plan,” says Brett Alperowitz, who
along with his partners runs Republic
and manages the act. “We got the
record out to college radio and were
trying to get a buzz going.”

In another standard move, the label
began sending the album to commer-
cial specialty shows, hoping to build
awareness of the act as b^d members
went back to the studio to edit off-color
language out of the promising single
“Fire Water Bum.”

Before the new cut was finished,
however, KNDD Seattle music direc-
tor Marco Collins started spinning an
unedited version of the song during late
nights and seeing immediate requests.
The station’s interest helped the song
catch fire at other West Coast modem
rock outlets, such as KROQ Los Ange-
les and KOME San Jose, Calif.

“Within two days, we had seven
m%jor stations without even having ser-
viced the song,” says Alperowitz.
Shortly thereafter, the band signed
with Geffen.

The additional major-label muscle
propelled the single on Modem Rock
Tracks and Mainstream Rock Tracks,
where this week it charts at No. 29 and
No. 35, respectively.

Geffen serviced modem rock radio
Nov. 19 and mainstream rock Dec. 4.

Though Geffen is preparing the
band’s next single, “Why’s Everybody
Always Pickin’ On Me?,” with rock
remixes and an accompanying clip fea-
turing John Denver, (^ffen director of
modern rock promotion (U.S.) Ted
Volk says that “Fire Water Burn” is
still faring well.

“This is still the most-requested
record at modem rock stations, and it’s
been on the radio since the middle of
November,” he says.

Lately, Bloodhound Gang members
have been on a promotional toiu*, stop-
ping at primary- and secondary-mar-
ket stations and making appearances
on such nationally syndicated radio
programs as Howard Stem and “Love-
line.”

The band has also performed on TV
shows hosted by Ricki Lake and Jenny
McCarthy.

The act, which is booked by New
York-based Artists & Audience, begins
a tour with Nerf Herder in March after
a European promotional jaunt.

Geffen dilator of marketing Robert
Smith (U.S.) says that the album has
matured nicely, building multiformat
airplay and overcoming perils normal-
ly associated vsith new-artist releases
in the holiday season.

‘What started out as a novelty song
on a handful of radio stations has
grown broadly,” he says. ‘We’re get-
ting multiple-format radio play even
though we’re reaching the point where

modem rock play begins to settle.

“For all intents and purposes, this
album emerged at the hardest time
there is to do something new,” he adds.
“It more than survived the holidays,
and the world is really just beginning
to get to it.”

The band also did its part, perform-
ing at Christmas radio shows in such
markets as Hartford, Conn.; Austin,
Texas; Minneapolis; and Phoenix.

John Artale, music buyer for the
Carnegie, Pa.-based National Record
Mart, says that the album, which is the
chain’s No. 22 best-selling title, was a
pleasant holiday gift for the retailer.

‘We originally had the indie album
and were doing very well with it,” he
says. ‘We went on from there with the
(jleffen album. It wasn’t on sale, but it
performed great throu^ the holidays.”

Smith says that the label pursued a
standard course at retail, bolstering the
project with stickers, ad mats, and
other in-store displays.

What’s drawing consumers, appar-
ently, is the band’s hook-filled swirl of
sampling, rock, and rap, accented by
humorous, quirky, and often politically
incorrect lyrics.

The Bloodhound Gang’s songs are
published Hey Rudy Publishing, the
Jimmy Franks Publishing Co., and
Lowry Music.

Bloodhound Gang lead vocalist and
main songwriter Jimmy Pop Ali —
whose real name is James Franks —
says that he is influenced by such bands
as Wu-Tang Clan, Weezer, and
Depeche Mode.

“I was in a band that did a lot of
Depeche Mode covers when I was
about 16,” he says. “That was what
really helped get me into sampling and
synthesizers, but I could never really
relate to the lyrics. I mean, I rvouid like
to start some blasphemous rumors.”

The band has, in fact, run into sev-
eral problems sprouting from concerns

east regional director of promotion;
Mark Burgher, Southwest director of
promotion; and John Souchack,
Northeast director of promotion.

Nick Gatfield, president of the Los
Angeles-based Polydor, continues to
report to Cafaro. His responsibilities
are focused on A&R for both domestic
and international acts, along with
exploitation of Polydor’s major cata-
log, which includes the Bee (Sees, Van
Morrison, the Moody Blues, Eric Clap-
ton, the Allman Brothers Band, and
James Brown.

In addition, Polydor is home to sev-
eral cast albums with music by Andrew
Lloyd Webber, including “Cats,” “Sun-
set Boulevard,” and “The Phantom Of
The Opera.”

Polydor’s developing acts include the
Badlees, Goodfellas, Fretblanket, and
Tonic.

Continuing to report to Gatfield are
Kam Sangha, director of operations;
Andrew Brightman, director of A&R;
Tom Storms, also director of A&R; and
New York-based Denis McNamara, VP
of intemational/special projects.

Barbis says his division also will be
busy trying to break such Polydor
imports as Cast, Boy Zone, and the
Lighthouse Family.

Rocket president John Cannelli con-
tinues to report to London-based chair-
man John Reid; the label is a joint ven-
ture among PolyGram, Elton John, and
Reid. Its 1997 releases will include
efforts by John, Daniel Cartier, Jim-

over its outrageous and unique style.

Mainstream rock WAAF Boston PD
Dave Douglas says that while phones
have been ringing “pretty much non-
stop” since the station began playing
“Fire Water Burn,” he is concerned
that the song is a novelty.

“Current music has dried up, and
[modem rock] especially is a hit-driven
format This sort of album reacts quick-
ly and fulfills the need for hits in the
short term, but it’s like an unhealthy
addiction,” he says. “When you don’t
have the songs, you go through with-
drawals.

“Generally speaking, this act is not
going to have [another] song as big as
‘Fire Water Bum,’ ” he adds. ‘That’s
going to be the novelty hit, and pro-
grammers have already moved on,
looking for the next thing. It’s a very
negative spiral.”

Perhaps of greater concern has been
the band’s lyrics.

Alperowitz says that prior to signing
with (jeffen, the band was in talks with
another label until its m^or-label part-
ner expressed concern about lyrical
content and requested that several
tracks be remov^ from the album.

Even Geffen balked at including the
track “Yellow Fever” fixim the Repub-
lic release. The song, which Franks
says will end up on a vinyl single, will
likely spark concern in the Asian-
American community.

Other attention-grabbers, which did
make it onto the album, include “I Wish
I Was Queer So I Could Get Chicks”
and “Kiss Me Where It Smells Funny.”

Franks says that the band has no
intention of treading lightly on people’s
sensibilities in the near future.

“People may dismiss us because our
lyrics are silly, but I definitely wouldn’t
be in a band if I couldn’t tell poop jokes
over the music,” says Franks. “TTie fact
that anybody wants to analyze our
music is beyond me.”

mie’s Chicken Shack, Roxy Lopez,
Ryan Downe, and the Spirits.

Barbis says the idea for the A&M
Associated Labels unit was “embraced
collectively by PolyGram, Polydor, and
Rocket executives. A&M made the
most sense, given its history, and, in
particular, both Elton John and John
Reid’s sense of the label’s history.”
According to Barbis, all parties rec-
ognize the need to “control the release
load — basically considered a given in
that there are so many companies with
so many records [out there]. Other-
wise, there is no focus on what we do.”
Giving its releases sufficient nurtur-
ing in sales, marketing, and promotion
limits consideration of more A&M
Associated Labels clients for the time
being, Barbis says. “At Polydor alone,
it’s red-hot in the U.K, and Nick is sign-
ing more acts. We just can’t take the
[addition of other labels] that far yet.”
Polydor entered the A&M orbit
three years ago when the PolyGram
Label Group closed down. Rocket pro-
motion and sales activities were part of
Barbis’ responsibilities at Island and
have moved to A&M Associated I..abels
with Barbis’ appointment there.

Barbis was brought to PolyGram by
Rick Dobbis, now president of Poly-
Gram Continental Europe, in 1991 as
executive VP of the PolyGram Label
Group. He had previously worked for
a marketing and consulting firm and
helped launch a sales and marketing
company.

BARBIS HEADS NEW P’GRAM UNIT

(Continued from page S)

BILLBOARD FEBRUARY 1. 1997

FEBRUARY 1, 1997 HOT 100 SINGlfO

COMPILED FROM A NATIONAL SAMPLE OF TOP 40 RADIO AIR-
PUY MONITORED BY BROADCAST DATA SYSTEMS, TOP 40
RADIO PLAYUSTS, AND RETAIL AND RACK SINGLES SALES COL-
LECTED, COMPILED, AND PROVIDED BY

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★ ★ ★ No. 1 ★ ★ ★

UN-BREAK MY HEART A 9 weeks at No. 1 ♦ TONI BRAXTON

O.fOSItR (D.WARREN) <C) <0} (M) 0) (V) (JO LAFACE 2420(yARISrA

DON’T LET GO (LOVE) (FROM “SET IT OFF") A ♦ EN VOGUE

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1 BELIEVE 1 CAN FLY (FROM “SPACE JAM") ♦ R. KELLY

R.KELLY (R.KELLYl 10 (0> tO (V) (X) V/ARNER SUNSET/AILANTIC 42422/JIVE

1 BELIEVE IN YOU AND ME (FROM ‘THE PREACHER’S WIFE") ♦ WHITNEY HOUSTON
O.FOSTER (D.WOLFERT.S LiNZERl (Cl (D> (Ml (T) (V) (X) ARISTA 13293

NOBODYA ♦ KEITH SWEAT FEATURING ATHENA CAGE

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WANNABE ♦ SPICE GIRLS

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NO DIGGITY A ♦ BLACKSTREET (FEATURING DR. ORE)

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I’M STILL IN LOVE WITH YOU • ♦ NEW EDITION

J.J4M T.LEWIS U.MARRIS Ill.T.LEWlS) (C) (D) (Ml IT) (X) MCA 55264

YOU WERE MEANT FOR ME ♦ JEWEL

B.KEllH.P.COlUMS U.KILCHER.S POLTZ) <□ (0) ATLANTIC 87021

MOUTH • ♦ MERRIL 6AINBRIOGE

SIEW (M.BAINBRIDGEI (C) (0) (Ml (T) LX) UNIVERSAL 56018

CAN’T NOBODY HOLD ME DOWN ♦ PUFF DADDY (FEATURING MASE)

OOH AAH... JUST A LIHLE BIT ♦ GINA G

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WHERE DO YOU GO • ♦NO MERCY

AME IF.REUTHER.P.BISHCHOF-FAILENSTEIN) (0 10) IM) (T) (V) (X) AR-STA 13225

irs ALL COMING BACK TO ME NOWA ♦ CELINE DION

J.STEINMAN IJ.STEINMJUrj (C) (D> (D (V) CX) 550 MUSK) 78345

COLO ROCK A PARTY ♦ MC LYTE

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IF IT MAKES YOU HAPPY ♦ SHERYL CROW

S.CROW IS CROWJTROni (C) (D) IV) (X) A&M 581874

WHEN YOU LOVE A WOMAN • ♦ JOURNEY

K.SHIRLEY IS.PERRYJ CAIN.N.SCHON; (C) (0) (V) COLUMBIA 78428

1 LOVE YOU ALWAYS FOREVER • ♦ DONNA LEWIS

0-LEWlS.K.KILLEN (O.LEV/lSl (O (0) (T) (X) ATLANTIC 87072

NET

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★ ★ ★ Hot Shot Debut * * ★

EVERYTIME 1 CLOSE MY EYES ♦ BABYFACE

BA8YFACE (BA8YFACE) (C» (0) 00 EPIC 78485

FLY LIKE AN EAGLE (FROM “SPACE JAM") ♦ SEAL

SEAL (S.MILLERJ iCi (Dl ZHAVARNER SUNSET 87046'ATIANTIC

•21

LAST NIGHT (FROM ‘THE NUTTY PROFESSOR") • ♦ AZ YET

BABYFACE. M WARREN iBABYFACE.K.ANOtS) iCl (0) (Ml IT) (V) (X) LAFACE 24181/ARISTA

1 RNAliY FOUND SOMEONE (FROM THE MIRROR HAS TWO FACES') • ♦ BARBRA STREISAND li BRYAN ADAMS

O.FCSIER (B SYRElSANO.M.HAMLlSCH.RJ.LANGE.e ADAMS) <0 <D) COLUMBIA 7B4B0

PONYA AGINyWINE

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NO TIME ♦ LIL’ KIM FEATURING PUFF DADDY

S.COMOS.STEVIE J. (K.JONES.S.COWBS.S JOROAN.J.BROWN) (C) (0) IT) UNOEASrBiG BEAT 98044/ATLANTlC

★ ★ * Greatest Gainer/Sales ★ ★ ★

IN MY BED ♦ DRU HILL

O.SIMMONS IR.BROWN.R.B.STACY.D.SIMMONS) (C> (0) ISLAND 654B54

TWISTED A ♦ KEITH SWEAT

K.SWEAT.E MCCAINE (K.SWEAT .£ MCCAINF.KUT KLOSC) (C) (0) (Ml (T) (V) (XI aCKTRA 64262/EEG

—

ON & ON ♦ ERYKAH BADU

B.POV/£R.J.JA)4AL (E.SAOU J.jAklALi (C) (0) (D KEDAR 56002AIN1VERSAL

THIS IS YOUR NIGHT ♦ AMBER

THE BERIMN BROTHERS (F.BERMAN.C.BERMANA CRtMERSi (C) ID) (T) fX) TOMMY BOY 7735

WHEN YOU’RE GONE/FREE TO DECIDE ♦ THE CRANBERRIES

B.FAIRBAIRN.THE CRANBERRIES (0. 0 RiCRDANj (C) (0) (V) (X) ISLAND 854802

YOU’RE MAKIN’ ME HIGH/LET IT FLOWA ♦ TONI BRAXTON

aAByFAC£.B.P.WlLSON 16 V/lLS&\,0ABYrAC£i (C) (D) (Ml (H IVl (X) LAFACE 2415a'ARlSTA

CHANGE THE WORLD (FROM “PHENOMENON") • ♦ ERIC CLAPTON

BABYFACE (T SIMS.G KENNEDY. W.K1RKPATRCK) (C) (Dl (V) REPRISE 1 7621

COUNTING BLUE CARS ♦ OISHWALLA

P NICOLO.OISHWAILA (ALEXANDER.BROWNING.KCLAKEK.RiCHAROS.PEfiOERGAST) (Ci (O) (X) A&M 581462

YOU MUST LOVE ME (FROM “EVITA") ♦ MADONNA

MADCMlA.NWRiGHTA»ARK£ftAL.WE8e£R.O.CAD(X3<{TRIC£.A,LW£BBER) (CHOMV) WARNER BROS. 17495

1 LIKE IT THE BLACKOUT ALLSTARS

S.CEORCC (M.RODRIGUEZ.T.PABON) (C) ID) COLUMBIA 78455

WHAT KIND OF MAN WOULD 1 BE • ♦ MINT CONDITION

MINT CONDITION (UWAODILU (C) (Dl IX) PERSPEaiVt 58755a'A&M

YOU LEARN/YOU OUGHTA KNOW ♦ ALANIS MORISSETTE

G.BALLARO (A.MORISSETTE.G.BALLARD) <0 (0) (V) MAVERICK 1 7644/REPRtSE

(E>

BARELY BREATHING ♦ DUNCAN SHEIK

R HINE (O.SHEIK) (C) (0) ATLANTIC 87027

NOTHIN' BUT THE CAVI HIT (FROM “RHYME & REASON”) ♦ MACK 10 & THA OOGG POUND

OAT NIGGA DAZ lO ROllSCN OJiRNAUD.R.BROWN) (C) (D) IT) BUZZ TONE 53263PRI0RITY

THIRTY-THREE ♦ THE SMASHING PUMPKINS

FLOOD, A.MOULCER.B.CORGAN (B.CORGWIl (C) (D) VIRGIN 38574

KEY WEST INTERMEZZO (i SAW YOU FIRST) ♦ JOHN MELLENCAMP

UTTlE BASTARD U.MELLENCAMP.G.GRELNi IC; lOl 1X1 MERCURY 578398

WITHOUT LOVE ♦ DONNA LEWIS

K,KIU£N.D.L£V/IS (O.LEWIS.O.TAYLOR) (C) (0) ATLANTIC 87026

MACARENA (BAYSIDE BOYS MIX) A* ♦ LOS DEL RIO

C.DE YARZA.M TRIAY lA ROMERO MONGE.R RUIZj (C) (D) (T) (V) RCA 64407

THIS IS FOR THE LOVER IN YOU A ♦ BABYFACE FEAT. LL COOL J. H. HEWEH, J. WATLEY & J. DANIELS

BABYFACE IH.HEWETT.O.MEYERS) <Cj (Dl iTl (V) (X) EPtC 78443

TELL ME (FROM “EDDIE") • ♦ ORU HILL

S.BROWN (S.BROWK.M DAVIS, A CANTRALU (C) (D) ISLAND 854660

COME SEE ME ♦ 112

HM & BOB (T.KELLEY.B RCB’NSON.S.COf.tQS.T, KELLY) (C) (0) Q) (XI DAO BOY 79073rARiSTA

SPACE JAM (FROM "SPACE JAM") QUAD CITY DJ’S

CLLWONnEAD U UOXMMi.H (XANGE.Y.BRYANTI (C) ID) (T)00 BIS BEAT.WARNER SUNSET 8701BlAUANT)C

I’M NOT GIVING YOU UP ♦ GLORIA ESTEFAN

E.ESTEFAN JR.K.SANTANDER (G.ESTEFAN.K.SANTANDER) (C) 10) (Tj (V) (X) EPtC 78464

MY BOO ♦ GHOST TOWN DJ’S

R.TERRY IR TERRY.C.MAMONEJR.) (D SO SO OEF 78358'iCOtUMBIA

* ★ ★ Greatest Gainer/Airplay * ★ *

WHAT THEY DO ♦ THE ROOTS

BROTHER QUESTION (ntOnER.THOMPSON.KUeBARO.GREY.BROWK.R.SAAOlQ) (0 (0) (T) OGC 19407/GEFFEN

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TITLE

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ARTIST

LABEL & NUMBEFVPROMOTION LABEL

PEAK

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JUST BETWEEN YOU AND ME

T.MCKEEHAN.M HEIMLRMAtiN (T.MCKEEHAN.M.HEIMERMANN)

♦ DC TALK

LETS MAKE A NIGHT TO REMEMBER

R J LANGF..8 ADAMS (B.AOAMS.RJ LANGE)

♦ BRYAN ADAMS

NEW^

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D.GEHMAN (K.GRIFRN)

♦ BEHER THAN EZRA
<0 (0) SWEU/ELEKTRA 6422&ECG

IT’S YOUR BODY ♦ JOHNNY GILL FEATURING ROGER TROUTMAN

J.GILL (J.GIU) (0 (D) MOTOWN 860462

AIN'T NOBODY (FROM “BEAVIS AND BUTT-HEAD DO AMERICA") ♦ LL COOL J

R.SMITH (H.WOIINSKU T.SMITH) (C)(T)GEFFEN 19410

DA' DIP

FREAK NASTY IFREAK NASTY)

FREAK NASTY
<0 <T) DU HARD HOOD/POWER 0112/TRIAD

NAKED EYE ♦ LUSCIOUS JACKSON

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NEVER LEAVE ME ALONE ♦ NATE DOGG FEATURING SNOOP DOGGY DOGG

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♦ MONTELL JORDAN
(C) lO) (T) DEF JAM 57564&1.(£RCURy

irS ALL ABOUT U

A.GORDON. JR. lAUSTAR.A MART1N.ABURROUGHS)

♦ SWV
(O(O)m RCA 64735

IF WE FALL IN LOVE TONIGHT

J MM, T, LEWIS U.HARRIS Ill.T.LEWlS)

♦ ROD STEWART
(0 (0) (V) WARNER BROS. 17459

ATHENS

OUIKAST {A.BENJAA(IN.A.PATTON)

♦ OUTKAST
(C) (0) rn LAFACE 24196/ARISTA

STREET DREAMS • ♦ NAS

/ C.OLIVIER.RED HOT LOVER TONE lAlENNOX.D.STEWART.N.jONES.S.BARNES) (C) (0) (M) (T) IXI COLUMBIA 76409

LUCHINI AKA (THIS IS IT)

SRI iS.WALLACLS.WIlDS.O.VriLLiS)

♦ CAMP LO
(OCDPROFIU 5458

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(Q (0) (T) UNIVERSAL 56032

TEARS

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♦ THE ISLEY BROTHERS

IC) (01 T-NECX 854862/lSlAND

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♦ DONELL JONES

FRIENDS

C.PETOCZ (J.HOLLANO)

JOHN MICHAEL MONTGOMERY
(C) (0) (V) ATLANTIC 87019

HERO OF THE DAY

B.ROCK.HilFlELO.UlRlCH (KETFiaO.ULRlCH.HAMMETT)

♦ METALLICA
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♦ LEAH ANOREONE

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1 FELL IN LOVE

EM. WILSON. JR. (E.A. WILSON. JR,)

ROCKELL

(CJ (T) (X) ROBBINS 72007

LETS RIDE ♦RICHIE RICH

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HOW COULD YOU (FROM “BULLETPROOF ”)

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♦ K-CI & JOJO OF JODECI

(0 (0) MCA SOUNDTRACKS 55279 14CA

DON’T STOP MOVIN’

VISNADI.VIAM DJ (VISMADl.OIGGS)

LIVIN’ JOY
CD (X) MCA 5530J*

SETTING SUN

THE CHEMICAL BROTHERS IROWLANOS.S<MONS,N.GALLAGHER)

♦ THE CHEMICAL BROTHERS

(M) (T) [X) ASTRAL WERKS 6187‘iCAROLINE

COLOUR OF LOVE

THE BERMAN BROTHERS {F-BERfAAN.CH.BERUAN.A.CR£MERS)

AMBER

YOU DON’T HAVE TO LOVE ME

HEAVY 0 (HEAVY D.T.ROBINSON)

♦ MONIFAH
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1 CAN MAKE IT BETTER

LVANOROSS.M.MILLER (L.VANOROSS.M.MiLLER)

♦ LUTHER VANDROSS

BOHEMIAN RHAPSODY (FROM “HIGH SCHOOL HIGH") ♦ THE BRAIDS

S.JENKINS.E VALENDNE (F. MERCURY) (C) (D) (D iX) BIG BEAT 98055/ATLANTIC

ALL 1 WANT

JJ.PUIGd.BROUDIE.P.COYlEl

♦ SUSANNA HOFFS

YOU CAN MAKE HISTORY (YOUNG AGAIN)

C.THOMAS (E.X)HN.6.TAUPIN)

♦ ELTON JOHN
(C) MCA 55222

THE MOMENT

KENNY G (KENNY G>

♦ KENNY G
(0(0) (X) ARISTA 13260

WHEN BOY MEETS GIRL ♦ TOTAL

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DEWEY B (0 BULLOCK, L.WATERS.V.MIICMELI)

LOVE TRIBE

NOWHERE TO GO

H.PADGKAM.M. ETHERIDGE (M.ETHERiOGD

♦ MELISSA ETHERIDGE

(C> (01 (V) ISLAND 654664

ANOTHER YOU. ANOTHER ME

R.CROWELL.B.SEALS (T.SEAIS.W JENNINGS)

♦ BRADY SEALS

(C)(D) (V) REPRISE 17615

BIRMINGHAM

D.TYSON (O.MCTAGGART.D.TYSON.G.O'BRIEN)

♦ AMANDA MARSHALL
(CMO) EPIC 76365

NEW^

RUNNIN’ 2PAC. NOTORIOUS B.I.G., RADIO. DRAMACYOAL & STRETCH

EASY MO BEE (2PAC.THE NOTORIOUS B.I.G .RAENO.DRAPAACYOAL) (C) MERGEUVSOLAR 70134/HINES

NEW^

MY BABY MAMA

C.THORNTON.B TILLMAN (C.TJ40RNT0H.B.TILLMAN)

♦ QT

AT NIGHT 1 PRAY

B.SANOSTROM.R.FAIR (WILD ORCHIO.B.SANOSTROM.M.OURAN)

♦ WILD ORCHID

NEW>'

WHATEVA MAN

E.SERMON (E.SERMON.R.NOBLE)

♦ REDMAN

IT) OEF JAM 574027VMERCURY

BIHERSWEET ME

S.LITT.R E M, (8£RRY.8UCK,MILLS,M.STIPE)

♦ R.E.M.

DANCE INTO THE LIGHT

P.CCX.LINS.H PADGKAM (P.COLUNS)

♦ PHIL COLLINS

la ID) FACE VALUE 87043/ATLANTIC

ONE AND ONE ♦ ROBERT MILES FEATURING MARIA NAYLER

R.MIIES IB.STEIN8ESG.R.N0WELS.M.C.0UBAL00I (C) (0) (D (V) (X) DECONSTRUCTION 13247/ARISTA

100

1 LUV U BABY

DJ PiPPl.OJ W1 (G.NUZZO.W.TAIEB)

THE ORIGINAL

Reconts with the greatest airplay and sales gains this week. Greatest Galnec/Sales and Greatest Gainer/Airplay are awarded, respectively, lor the largest sales and airplay increases among singles below the top 20. ^VideocNp availability. •Recording Industry Assn. 01 America (RIAA) certHication for sales of 500.000
units. A RIAA certification for sales of 1 million units, with additiona) million indicated by a numeral following the symbol. Catalog number is for cassette single. *Asterisk indicates catalog number is lor cassette maxi-single; regular cassette single unavailable. (C) Cassette single availability. (D> CO single availability. (M) Cassette
man-single svailaWily. (T) Vinyl maxi-single availability. (V) Vinyl single availability. (X] CD maxi-single availability. • 1997. SillboartVBPI Communications.

BILLBOARD FEBRUARY 1. 1997

Billboard.

FEBRUARY 1, 1997

Billboard.

FEBRUARY 1997

Hot 100 Airplay.

Compiled from a national sample of airplay supplied by Broadcast Data Systems' Radio Track service.
313 stations are electronically monitored 24 hours a day, 7 days a week. Songs ranked by gross impres-
sions. computed by cross*referencing exact times of airplay with Arbitron listener data. This data
is us^ in the Hot 100 Singles chart.

TITLE

AftllST (lABElyPROMOTION LABEL)

THIS WEEK 1

TITLE

ARTIST ILABEL/PROMOTION LABEL)

* * NO. 1 * *

THE GREASE MEGA-MIX

JCHSTWLTAiOirmNWICN-lOHK FW’DCRAW:

DON 'T SPEAK

v.'XL6TnfUuUAWtUtSCC^ .'MsXNdI

FLY UKE M EAGLE

SEAL (/TT.'V/ARNrn sUNSf T.’ATLANTIC)

UN-BREAK MY HEART
Torn BRAXTON <IAFACE,’ARISTA)

ALL MIXED UP

311 (CAPRICCffiN/MERCURV)

DONT LET GO (LOVE)

EN VOGUE iLASTV/ESTiEEG)

YOU LEARN

ALANIS MORISSEHE IMAVERtCK/REPRISEI

LOVEFOOL

THE CARDIGANS (STOCKHOLMMERCURY)

LETS GET DOVi^

TONY TONI TONE (MERCURY)

ITS Aa COMING BACK TO ME NOW
CELINE OlON (550 MUSIC)

MY BOO

GHOST TOWN OJ-S (SO SO OEF/COLUMBIAI

HEAD OVER FEET

ALANIS MOR'SSETTC (MAVERICk/REPRlSE)

WHAT 1 GOT

SUBLIME (GASOLINE ALLEY/MCA]

A LONG DECEMBER
COUNTING CROWS (OGOGEFFEN)

SPIDERWEBS

NO DOUBT (TRAUMA/irrTERSCOPE)

DON'T CRY FOR ME ARGENTINA

MADONNA (WARNER BRCS .

THIRTY-THREE

THE SMASHIITG PUMPKINS (VIRGIN)

NO DIGGITY

BtACxSTREET (FEAT. OR. ORE) (tHTERSCOPE)

ONE KEAOUGHT

THE WALLFLOWERS (INIERSCOPE;

1 LOVE YOU ALWAYS FOREVER

DONNA LEWIS (ATLANTIC)

KEY WEST INTERMEZZO (1 SAW YOU FIRST)
X)HN MELLENCAMP (MERCURY)

IF IT MAKES YOU HAPPY

SHERYL CROW (AgM)

ABUSE ME

SILVERCHAIR(EPIC)

WHERE DO YOU GO

NO MERCY (ARISTA)

GET ME HOME

FOY Wmv RAT. tUOGTKn lYQLAXRttF JMVikiLRr

35)

YOU WERE MEANT FOR ME

JEWEL (ATLANTIC

LAST NIGHT

AZ YET (AFACf. ARISTA)

MOUTH

MERRIL 8A)N8RIDG£ lUNrvPtSAL)

32)

JUST ANOTHER DAY

JOHN MELLENCAMP (MERCURY)

35)

OOH AAH... JUST A LITTLE BIT

GINA G (EIERNAi.'WARNLl^ BROS )

LOVE ROLLERCOASTER
RED MOT CHILI PEPPERS (GEFFEN)

1 BEUEVE 1 CAN FLY

R KELLY (WARNER SUNSET/ATlANTIOJIVt)

COLO ROCK A PARTY

MC LYTE lEASrwEST.'EEG)

WANNABE

SPICE GIRLS (VIRGIN)

GREEDY FLY

BUSH (TRAUPAA/INTERSCOPE)

1 GO BLIND

HOOTIE i THE BLOWFISH (REPRISE)

CRASH INTO ME

DAVE lAATTHEWS BAND (RCA)

NOBODY

KEITH SWEAT FIAT. ATHENA CAGE (ELEKTRATIG)

WHAT KINO OF MAN WOULD 1 BE

MINT CONDITION (PER$P£CTiy£/ASM)

TWISTED

KEITH SWEAT (ELEKTRA^EG)

WITHOUT LOVE

DONNA LEWIS (ATLANTIC)

I'M STILL IN LOVE WITH YOU
NEW EOmON(MCA)

LETS MAKE A NIGHT TO REMEMBER
BRYAN ADAMS (A&M)

WHEN YOU LOVE A WOMAN

JOURNEY (COLUMBIA)

IF WE FALL IN LOVE TONIGHT

ROD STEWART (WARNER BROS )

YOU'RE MAKIN' ME HIGH
TONI BRAXTON (LAFACErARiSTA)

SWALLOWED

BUSH (TRAUMA/INTERSCOPC)

PONY

GINUVriNE iSSOMUStC)

JUST BETWEEN YOU AND ME

DC TALK (VIRGIN!

COUNTING BLUE CARS

OISHWALLA'AAMI

DESPERATELY WANTING
KHER THAN EZRA ISWELLELEKTRAtEG)

THIS 15 YOUR NIGHT

AMBER aOMMY BOY)

WHEN YOU'RE GONE

THE CRANBERRIES (ISLAHO)

DISCOTHEQUE
U2 (ISLAND)

I'M NOT GIVING YOU UP
GLORIA ESTEFAN (EPIC)

CHANGE THE WORLD

ERIC CLAPTON IREPRISE)

FOR YOU 1 WILL

MONCA (WARNER SUNSET/ATLANTIC)

1 BELIEVE IN YOU AND ME

WHITNEY HOUSTON

BOUND FOR THE FLOOR

LOCAL H 1 ISLAND)

EVERYDAY IS A WINDING ROAD
SHERYL CROW (ASM)

LADY PICTURE SHOW
STONE TEMPLE PILOTS (ATLANTIC;

1 LIKE IT

THE BIACKOUT ALLSTARS (COLUMBIA)

PERFECT DRUG

NINE INCH NAILS iNOTHINGINTERSCOPCl

#1 CRUSH
GARBAGE (CAPITOU

3$)

SANT^RIA

SUBLIME (GASOLINE ALLEY-1b«CAJ

ONE IN A MILLION

AALIYAH IBLACKGROUNO/ATLANTIC)

NAKED EYE

LUSCIOUS JACKSON (GRAND ROYAUCAPiTOLI

EVBtYTIME 1 CLOSE MY EYES

0A6YFACE (£P*C)

AUIWANT

THE offspring (COLUkiBlA)

BARELY BREATHING
DUNCAN SHEIK (ATLANTIC)

BARREL OF A GUN

DEPECHE )AOOE (REPRISE)

LAKINI'S JUICE

LIVE IHAOIOACTIVE.MCA)

IN MY BED

ORU HIlLi-SlANC'.'

1 FINALLY FOUND SOMEONE
BAR&RA $TRE<SAND i BRYAN ADAMS (COLUMBIA]

BLOW UP THE OUTSIDE WORLD
SOUNOGARDEN (ASMI

Records with the greatest airplay gains. ^ 1997 Billboard/BPI Communications.

H0T100RECURREN1

IRPLAY

MISSING

EVERYTHING BUT THE GIRL (ATLANTIC)

FOLLOW YOU DOVYN

ON BLOSSOMS (A&M)

BECAUSE YOU LOVED ME

CELINE DION (550 MUSIC)

INSENSITIVE
JANN ARDEN (A&M)

GIVE ME ONE REASON
TRACY CHAPMAN (ELEKTRA/EEGI

THE WORLD 1 KNOW

COLLECTIVE SOUL (ATLANTIC)

ALWAYS BE MY BABY

UAR(AH CAREY (CX)LUMBIAI

SWEET DREAMS

LABiXiCHEiRCA)

C'JNON N' RIDE IT (THE TRAIN)

QMI OTY tUS (QUADAASCHMOiBC eCATATlANT>:i

1979

THE SMASHING PUMPKINS (VIRON)

NOBODY KNOWS

THE TONY RICH PROJECT (LAFACE/ARtSTA)

$TH AVENUE HEARTACHE

THE WALLFLOWERS IINIERSCOPE)

WHO WILL SAVE YOUR SOUL

JEWEL (ATLANTIC)

WONDER

NATALIE MEROIANT (ELEKTRAlEEG)

DO YOU MISS ME

JOCGYN UfHOUEZ IQASSmEtVTIUKRLTCWMr BOr]

ROLL TO ME

DELAMIIRI (A&M)

NAME

GOO GOO DOliS (METAL BUU)€<WARNER BROS.)

KISS FROM A ROSE

SEAL (Zn/SIREAVARNER BROS.)

IRONIC

ALANIS MORtSSEUE (MAVERICK/REPRlSC)

TONIGHT IS THE NIGHT
LE aiCK (LOOCJ

RUN-AROUND

BLUES TRAVELER (ASM)

LOUNGIN

U COOLJ (DEF JAM/MERCURY)

ANOTHER NIGHT

REAL MCCOY (ARISTA)

BREAKFAST AT TIFFANY'S

DEEP BLUE SOWETHNG IRNNIMKERimERSIXPE]

BE hlY LOVER

LA BOUCHE (RCA)

Recurrents are trties which have acpeared on the Hoi 100
chart for 20 weeks and have dropped De(ow the lop 50.

HOT100A-Z

TITLE {Publisher - Licensing Org.) Sheet Muse Oisl.

55 AINT NOBODY (FROM 8EAVIS AND BUH-HEAD DO
AMERICA) (FuU Keel. ASCAP) WBM

85 ALL I WANT (Chrysalis. ASCAP/Westbury. PRS) WBM

91 ANOTHER YOU. ANOTHER ME (Irving. 6MI/6aby
Dumplin'. BMI/Blue Sky Rkler. GMI) WBM

63 ATLIENSIChrysabs.ASCAP/Gnat Booty. ASCAP) WBM
95 AT NIGHT I PRAY (Sorty/ATV Tunes lie. ASCAP/WM

Oichie. ASCAP/Bobby Sandstrom. ASCAP/BMG. ASCAP) HI

37 BARELY BREATHING (Duncan Sheik. BMlOtapp Oog.
BMI/Careeis-BMG. 6141) HI

92 BIRMINGHAM (Own In Front SOCAN/EMI April.
ASCAP/IMI April Canada. ASCAP/Inlo Wishm'. ASCAP/MCA.
ASCAP/Sold For A Song. ASCAP/O'Brien. ASCAP) HL

97 BiHERSWEET ME (Night Garden. BMI/Warner-
Tameriane. 6MI)

64 BOHEMIAN RHAPSODY (FROM HIGH SCHOOL
HIGH) (B. Feldman & CoTGlemvood. ASCAP) HL

59 BOW DOWN (Gar^taBoc«e.ASCAP/WB.ASCAP/BaseP«e.
ASCAP/Real An Ruff. ASCAP/Gokieft Fi^. ASCAP) WBM

11 CAN'T NOBODY HOLD ME DOWN UusbnCombs.ASCAPAMI
ApnI. ASCAP/Amm. ASCApyjuly Sn. ASCAP/TtASHMACX.
ASCAP/M. Betha. ASCAP/Buchu. ASCAP/No Ears. ASCAP) HL

31 CHANGE THE WORLD (FROM PHENOMENON) (WB.
ASCAP/in(«fsccpe, ASCAP/EMI Oirsban, ASCAP/Bases Loaded.
ASCAP/Pchgram Int'I, ASCAP/Caretn-BMC BMQ WBM/Hl

15 COLO R0(X A PAflnCBnxU/a Basel ASCAP/BUCASC^^

Oder. EWSrntf'ATV SotfS. BUlTormy ipii, eMl'Kamr-Tairemre.
eV(-EMIA(ri.ASCAP/li6anCbi)bs ASCAP) HUWBH
81 COLOUR OF LOVE (Sluik Media. 8M1/Wamer
Chapped. BMI) WBM

45 COME SEE ME Gyme 4 Flytes, BMl/Butter Jni. BMI/Justn
Combs. ASCAP/EMI ASCAPAB Sam. ASCAP) HI

32 COUNTING BLUE CARS (Mono Rat. ASCAP/Bigger
Than Peanut Butter. ASCAP/EMI April. ASCAP) HL

56 DA' DIP (Eric Timmons)

98 DANCE INTO THE LIGHT (Phil Collins. PRSAtit & Run.
PRS^/6. ASCAP) WBM

53 DESPERATELY WANTING aentative. BMI/Wamer-
Tamertane. BMI) WBM

2 DON'T LCT GO (LOVE) (FROM Sr IT OFF) (Organired
Noue. BMt/Htco. 6Mt/Sa>iar>dra. ASCAP/Rondor.
ASCAP/One OT Ghetto Hoe. ASCAP/W8. ASCAP/Bett Star,
ASCAP/Almo. ASCAP) WBM

79 DON7 STOP MOVIN' (MCA. ASCAP) HL

19 EVERTTIMEICLO$EMYEYES(Sorr//ATVLLC.BMI/Eca1.BM))

60 FALLING (Ofiveby.BMI/X-Men.BMI/New Line.
8M1/Sony/ATVaC.BMI) HL

66 FIRESTARTER (EMI Virgin. ASCAP/Copyiight Control.
BMI/UnforgettaMe Songs. BMI/Perfect Songs. BMI) HL

20 FLY LIKE AN EAGLE (FROM SPACE JAM) (Satlw.
ASCAP) HL

70 FRIENDS (That's A Smash. BMI/Mike Curb. BMI) WBM

67 GETUPdBFam.ASCAP/Clark'sTrueFunk.
BMl/Mr.Sex. ASCAP)

71 HERO OF THE DAY (Creeping Death. ASCAP)

78 HOW COULD YOU (FROM BULLETPROOF) (Sony/ATV
lie, 6M(/Yab Yum, BM^towntown Sound.
BMt/Plaything. BMI/Too True. BMt/la Coupole. BMI) HL

3 I BELIEVE t CAN FLY (FROM SPACE JAM) (Zomba.
BMI/R.Kelly. BMI) WBM

4 I BELIEVE IN YOU AND ME (FROM THE PREACH-
ER'S WIFE) (Chartes Ko|i^lman. BMI/Martin Sandier.
BMI/Johnathan Three. BMI/bnzer. BMI) HLAK6M

83 ICANMAKEITBEnCR(EMIApril.ASCAPAIncle
Rotuiie's. ASCAP/MCA. ASCAP/Thrdier Miller. ASCAP) HL

74 1 FEU IN LOVE (No SaN. BMI/House Of Flavor. BMI)
22 I nNALLY FOUND SOMEONE (FROM THE MIRROR HAS TWO

FACES) aSP. ASCAP/Sooy/ATV TuwsLLC. ASCAP/EmanueL
ASCAP/2«nba. ASCAP/Badams. ASCAP) HbViBM

16 IF IT MAKES YOU HAPPY (Warner-Tamertane.
BMI/Old Crow. BMI/Trottsky, BMI/Wo»n. BMI) WBM

62 IF WE FAU IN LOVE TONIGHT (EMI. ASCAP/Flyte
Tyme. ASCAP) HL

34 ILIKETTLLoi^itude.BMDWBM

18 1 LOVE YOU ALWAYS FOREVER (Donna Lewis.

ASCAP/W8, ASCAP) WBM
100 I LUV U BABY (MCA. ASCAP) HL

47 I'M NOT GIVING YOU UP (Foreign Imported. BMI) WBM
8 I'M STILL IN LOVE WITH YOU (EMI. ASCAP/Flyte

Tyme, ASCAP) HL

25 IN MY BED (Brown Lace. 8Ml/Zomba. BMl/Stacegoo.
BMI/Wamec-Tameilane. BMI/Boobie-Loo. BMI) WBM

61 irs ALL ABOUT U(AI'$ Street. ASCAP/Almo.
ASCAP/Sailandra, ASCAP/Reetmo. ASCAP) WBM

14 irS AU COMING BACK TO ME NOW (Lost Boys.

BMI/Songs Of PotyCram, BMI) HL
73 ITS ALRIGHT. IfS OK (Ahaieila. BMI/Warner-
Tamertane. BMI/Xanjamino. BMI) WBM

54 ITS YOUR BODY musty Boots. ASCAP]

50 JUST BETWEEN YOU AND HE (Up in IheAbx.BMlforeFronL
BML^Fun Atbc. ASCAP/EMI Chnsban. ASCAP)

40 KEY WEST INTERMEZZO (I SAW YOU FIRST) (Full Keel.

ASCAP/EMI ApnI. ASCAP/Katsback. ASCAP) HIAVBM
69 KNOCKS ME OFF MY FEET (Black Bun.

ASCAP/Jobete. ASCAP) WBM

21 LAST NIGHT (FROM THE NUTTY PROFESSOR) (Ecaf.
BMI/Keiande. ASCAP) HL

77 LET ME CLEAR MY THROAT (Kool.ASCAP/CLR. ASCAP)

51 LETS MAKE A NIGHT TO REMEMBER (Badams.
ASCAP/Zomba. ASCAP) HL/WSM

75 LET'S RIDE (House Rep.. BMI/Syblesons. BMI)

65 LUCHINI AKA aHIS IS IT) (Protoons. ASCAP/Sheba
Doll. ASCAP/Satm Strulhers. ASCAP/Sony/ATV Tunes
Lie. ASCAP/Biggie. BMI) HL

42 MACARENA (BAYSIDE BOYS MIX) (Riglilsongs.

BMI/SGAE. ASCAP) WBM/HL
B7 THE MOMENT (Kenny G. BMI) HL
10 MOUTH (MCA. ASCAP) HL
94 MY BABY MAMA (Hot Sauce. ASCAP/BeaneTrte. ASCAP)

48 MY 600 (Ghostown.BMI/Carf Mo. BMt/Air Control.
ASCAP/EMI ApnI. ASCAP) HL

57 NAKED EYE (EMI April, ASCAP/Grand Royal.
ASCAPAuscious Jackson. ASCAP) HL -

58 NEVER LEAVE ME ALONE (Nate Dogg. BMt/Suge.
ASCAP/Antisia. ASCAP/W6. ASCAP) WBM

5 NOBODY (Keith Sweat. ASCAF/WB. ASCAP/E/A.
ASCAP/Scottsville. BMIAMI Blackwood. BMI) WBM/HL

7 NO DIGGITY(Donnl, ASCAP/Zomba. AS(>P/Ch»unayBlac^^
ASCAP/Smotan’ Sounds. ASCAP/Oueetipen. ASCAP/StOt.
BMLSony/ATV Tunes LLC. ASCAP/WB. ASCAP) WBM

38 NOTHIN' BUT THE CAVI HIT (FROM RHYME t REA-
SON) (Real N Ruff. ASCAP/Suge, ASCAP/Emoni's.
ASCAP/High Pnesl. BMI/Ensign. BMI) HL

24 NO TIME (Undeas. BMI/Warner-Tameilane. BMI/EMI
April, BMI/Oynatone. BMI/Dnichappeli. BMl/iustin
Combs. ASCAP/Amara, ASCAP) HUW6M
90 NOWHERE TO GO (MLE. ASCAP/Almo. ASCAP) WBM

99 ONE AND ONE (Jerk Awake. ASCAP/EMI Virgin.
ASCAP/Euture Furniture. ASCM’/HkIden Pun,
BMI/Wamer-Tamerlane. BMI) WBM/HL

27 ON (ON (Divine Pimp. ASCAP/Tribes Of Kedar.
ASCAP/BMG. ASCAP/McNooter. ASCAP) HL

12 OOKAAH...JUSTAUTTLEBIT(GEMA/?eermusic.

Hot 100 Singles Sales.

Compiled from a national sample of POS {^'nt of sale) equipped retail stores and rack outlets which report
number of units sold to SourtdScan. Inc. This data is used m the Hot 100 Singles chart. sotirxiSc.

TITLE

ARTIST (LABEUPROMOTION UBEL)

TITLE

ARTIST (LABEUPROMOTION LABEL)

★ ★ NO. 1 ★ ★

TEUME

DRU HIILIISLANDI

( BELIEVE 1 CAN FLY

P.ifUTl*'^-'^''.haTiUUXTCWl (.nmrfcl

BOW DOWN

WESTSIDC CONKCCTION llEtMX UCfiPRCRITYi

UN-BREAK MY HEART

TONI BRAXTON (LAFACL’ARISTAI

TEARS

THE ISLEY BROTHERS (T-NECKASLAND)

1 BELIEVE IN YOU AND ME

V/HIINEY HOUSTON (ARISTA)

ATLEINS

OUTKAST llAFACE/ARISTA)

DONT LET GO (LOVO
EN VOGUE (EASTWESTiEEG)

DA' DIP

FREAKY NASTY (HARD HOOOPOWER/TRIAO)

NOBODY

KEITH SWEAT FEAT. ATHENA CAGE (ELOCTRA’EEG)

LUCHINI AKA (THIS IS IT)

CAMP LO(PROflLE)

WANNABE

SPICE GIRLS (VIRGIN)

THINGS’U NEVER CHANGE

E 40 FEAT. BO'ROCK (SICK WID' IT/JIVE)

CANT NOBODY HOLD ME DOWN

PU»F DACOYlFtAI. MASfcl IBAD BOY/ARlSTA)

FRIENDS

X)HN MXFTAEL MONTGOMERY (ATLANTIC)

COLD ROCK A PARTY

lACLYTE :FASTWfST,rFG;

STREET DREAMS

NAS (COLUMBIA)

NO TIME

a'WMFEAT WFWOCrf(Xf«ASBCBEAI.'ilTWrnCI

FIRESTARTER

PRODIGY <Murf;KUVERlCK.M)ARNER BRDS.)

NO DIGGITY

KACKSTRCETIFIAT DR OROliNTERSCCPE)

KNOCKS ME OFF PilY FEET

DONELL JONES (LAFACE/ARISTA)

ON CiON

ERYKAH BAOU (KEDAR/UNIVERSAl)

PONY

CINUWINE(S50 MUSIC)

I'M STILL IN LOVE WITH YOU

NEW EDITION (MCA)

HOW COULD YOU

K Cl & JOiO or JOOEO (MCA SOUNOTRACKSUCA]

IN MY BED

DRU HILL (ISLAND)

MISSING YOU

iPA'd. IFNit OFCYS lUnXTi OVM KHUI llUTHUtCEG

LAST NIGHT

A2 VET (LAFACE/ARISTA)

SUGAR HONEY ICE TEA

GOOOFELLAZ lAVAIAFVPOLYDOft-A&M)

YOU MUST LOVE ME

MADONNA (WARNER BROS.)

GET UP

LOST eorz lUNIVERSAU

YOU WERE MEANT FOR ME

JEWEL lATLANTIC)

1 CAN MAKE IT BETTER
LUTHER VANDROSS (LV/EPIC)

—

EVERY ‘HME 1 CLOSE MY EYES

BABYFACE (EPIC)

HOW DO U WANT IT/CALIFORNIA LOVE

2fK .FEAI. KCi iv .OlATH HW’iU^rSC'JPE;

FLY LIKE AN EAGLE

SEAL (Zn.iWARNER SUNSET/ATLANTIC)

YOU DONT HAVE TO LOVE ME

MONIFAH (UPTOWN/UNIVERSAL)

MACARENA (BAYSIDE BOYS MIX)

LOS DEL RIO (RCAI

IT'S ALL COMING BACK TO ME NOW

CELINE OlON (550 MUSIC!

I FINAUY FOUND SOMEONE

BARBRA STREISAND iBR/AN ADAMS . ;UBUU

IF IT MAKES YOU HAPPY

SHERYL CROW (A&M)

ITS YOUR BODY

JOHNNY GILL FEAT. RIXER TRCUTUAN . VOTdiV.Si

POPIMP

DIOR . 1 (FAT rmSTUKUPALOFpMOFFttK'/KCih.

MOUTH

MERRIL BAINBRIDGE (UNIVERSAL)

LET ME CLEAR MY THROAT

DJ KOOL (CIFL'AMERFCAN-WARNER BROS )

NOTHIN' BUT THE CAVI HIT

HACK IDA THL OOGG POjND iBUlZ TOT«PM)RITY)

I'M NOT GIVING YOU UP

GLORIA ESTEFAN (EPIC)

OOH AAH... JUST A LITTLE BIT

GINA G lETERNAL'WARNER BROS.)

CHANGE THE WORLD

ERIC CLAPTON (REPRISE)

WHAT KIND OF MAN WOULD 1 BE

MINT CONDITION iPEftSPECIlVEjA&M)

IF YOUR GIRL ONLY KNEW

AALIYAH (DLACKGROUND ATLANTFC)

SPACE JAM

oj&Dcr> ;.;s;eGBEAr/AARNE)i suh$n«Tw(nci

SETTING SUN

TFCCHLMCAlBROrKERSIASTRAlWERXSiCAPOUNE}

THIS IS FOR THE LOVER IN YOU

BABVrACE (FPIC)

MACARENA

LOS DEL RIO (ARIDLA’BMC LATIN)

AINT NOBODY
LL COOL J IGEFFEN)

BLUE

LFANN RIMES (CURB)

STEELO

702 IBIV lO/MOrOWNI

HERO OF THE DAY

MCTALUCA (ELEKTRA-EEG)

WHEN YOU'RE GONE/FREE TO DECIDE
THE CRANBERRIES (ISLAND)

RUNNIN'

JPAC rioroFinuSB.I.G IMERGEIASOIAAHINES)

FAaiNG

MONTELL XIROAN (OEF JAAVMERCURY)

1 UKE IT

THE BLACKOUT AILSTARS (COLUMBIA)

COME SEE ME

112 (BAD SOY ARISTA)

ANOTHER YOU. ANOTHER ME

BRADY SEALS (REPRISE)

WHERE DO YOU GO

NO AIERCY ARISTA)

THIRTY-THREE

THE SMASHING PUMPKINS (VIRGIN)

WHAT THEY DO

THE ROOTS iDtXJGEFFEN)

MY BABY MAMA

QI IHOWDY.AKISFAI

WHEN YOU LOVE A WOMAN
JOURNEY (COLUMBIA)

NAKED EYE

lUSCKXJS JACKSON (GRAND ROYAUCM>ITOD

ITS ALL ABOUT U

SWVIRCA;

BOHEMIAN RHAPSODY

THE BRAIDS IBIG BLAT/ATLANTIC)

NEVER LEAVE ME ALONE

MTICOXFUr SKEPbXSiOOCC :t<.'r«KT>*6tSCarEi

WITHOUT LOVE

DONNA LEWIS lAIIJUrTlC)

Records with the greatest sales gams. <S> 1997. Billboard/8PI Communications and SoundScan, Inc.

6MI/FX. ASCAP/Etemal. ASCAP) WBM
23 PONY (Papah.ASCAP/Virginia Beach. ASCAP/WS.

ASCAP/HerbdiciOUS, ASCAP) WBM
93 RUNNIN' (EMI April. ASCAP/6ee Mo Easy.

ASCAP/iosbn Combs. ASCAP/B« Poppa, ASCAP)

80 SeniNG SUN (MCA. FltS/Creation. PRS/Sony. PRS) HL
46 SPACE JAM (FROM SPACE JAM) (QuadraSound.

BMi/Watn«r Chappell. BMt) WBM
89 STAND UP (C-Sound. ASCAP/Ghetto Thinking
ASCAP/Tan Brown. ASCAP/SpMlopa. ASCAP)

64 STREET DREAMS (O N' A. PRS/BMG.PRS/BMG,
ASCAP/Careers-BMG, 8MI/Jumptng Bean. BMI/12 And
Under. BMI/ietiy's Jams. ASCAP/Slam U WeN. ASCAP) HL
72 SUGAR HONEY ICE TEA (Arvermal. ASCAP/EMI April.

ASCAPAeoSun, ASCAP/Pecot. ASCAP) HL
68 TEARS (Sony/ATV LLC. BMI/Ecaf. BMI) HL
44 TELL ME (FROM EDDIE) (Stan Brown. BMI/M Double.
BMI/Ailey Gadfly. BMI)

52 THINGS'U NEVER CHANGE/RAPPER'S BALL (WB.
ASCAP/Zappa, ASCAP/Zomba. BMt/Badass.
ASCAP/IBN. ASCAP/E-Fofty. BMI/Cyphercletf.
ASCAP/SRAND. BMI)

39 THIRTY-THREE (Chrysalis. BMI/Onderiul, BMI) WBM
43 THIS IS FOR THE LOVER IN YOU (Sony/ATV Lie. BMliEpc.
BMI/Solar. BMLWB. ASCAP/E/A. ASCAP/Make It B«.
ASCAP/TWrart-Sefar, ASCAP/Sihw SowxJs. ASCAP) HL
28 THIS IS YOUR NIGHT (Shark Media. BMl/Wamer-
Tameitane. BMI) WBM

28 TWISTED (Kedh Sweat ASCAP/E/A ASCAP/WB. ASCAP/Oetp
Sound. ASCAP/Short Dolls. BMUZomba. ASCAP) WBM
1 UN-BREAK MY HEART (Realsongs. ASCAP) WBM

6 WANNABE (FuU Keel. ASCAPAYindsvnpt Pacific.

ASCAP/Polygram Irrt'l. ASCAP) HL/WBM
76 WATCH ME DO MY THING (FROM ALL THAT)
(Zomba. BMI/Hookman. BMI/Fe-Mac. ASCAP)

96 WHATEVA MAN (Erick Sermon. ASCAP/Zomba.
ASCAP/Funky NoMe, ASCAP)

35 WHAT KIND OF MAN WOULD I BE (Mint Factory.
ASCAP/EMI April. ASCAP) HL

49 WHAT THEY DO (Careers-BMG.BMI/GrandNegar.
BMI/Godfather, BMI) HL

88 WHEN BOY MECTS GIRL (Trey III. BMi/T.Lucus.
ASCI^/The Waters Of Nazerath, BMI/StrB From The
Bottom. ASCAP/Kevm Wales. ASCAP/JustIn Combs.
ASCM»/EMI April. ASCAP/Total's Thing. ASCAP) HL
17 WHEN YOU LOVE A WOMAN (Love Batch. ASCAP/So
Much. ASCAP/Tingers 01 Joy. ASCAP)

29 WHEN YOU’RE GONE/FREE TO DECtDE (Polygram
frrt'l. ASCAP) HL

13 WHERE DO YOU GO (Fat M.V.. ASCAP/BMG. ASCAP) HL
41 WITHOUT LOVE (OortnaLevns.ASCAP/Wamer
Chappell. ASCAP) WBM

86 YOU CAN MAKE HISTORY (YOUNG AGAIN) (Willtam
A. Bong. PRS/Wretched. ASCAP/WB. ASCAP) HUW6M
82 YOU DON'T HAVE TO LOVE ME (EMI April.
ASCAP/Soul On Soul. ASCAP/Evelie. ASCAP) HL

36 YOU LEARN/TOU OUGHTA KNOW (MCA.
BMl/Vanhurst Place, BMI/Aerostalion. ASCAP) HL

33 YOU MUST LOVE ME (FROM EVITA) (MCA. ASCAP) HL

30 YOU'RE MUir ME HIGK/LETIT FLOW (Groove 78.
ASCAP/Almo. ASCAP/Ecaf. BM(/Scny/ATV Songs. BMI) Hl/ABM

9 YOU WERE MEAJTT FOR ME (Wiggfy Tooth.

^79

BILLBOARD FEBRUARY 1. 1997

THE

Billboard 20Q

THE TOP-SELLING ALBUMS COMPILED FROM A NATIONAL
SAMPLE OF RETAIL STORE AND RACK SALES REPORTS
COLLECTED, COMPILED. AND PROVIDED BY

SoundScan*

FEBRUARY 1, 1997

^cwnd^c|n

THIS

WEEK

LAST

WEEK

2WKS

AGO

WKS. ON
CHART

ARTIST TITLE

LA8EL & NUM6EIVOISTRIBUTING IA6EI (SUGGESTED LIST PRKX OR EQUIVALENT FOR CASSEnE/CD)

PEAK

P(DSIT10N

★ ★ ★ No. 1 ★ ★ ★

NO DOUBT A' TRAUMA 92S8QWTERSC0FE (10.9a'lS.96l BB 7 weeks at No. 1 TRAGIC KINGDOM

★ * ★ Greatest Gainer ★ ★ *

SOUNDTRACK WARNER BROS. 46346 (21.9&'27.98) EVITA

SOUNDTRACK A' wnoL 37715 (10.W15.98) ROMEO + JULIET

CELINE DION A^ 550 music 67541/£PtC (10.98 £0/17.98) FALLING INTO YOU

SOUNDTRACKA’ WARNER SUNSCT/ATLANTk: 83961/AG (11.9a'17.98) SPACE JAM

TONI BRAXTON A^ LAFACE 3602a'ARISTA (10.9&'I6 98) SECRETS

SOUNDTRACK ARISTA 18951 (I0.9a'i6.98i THE PREACHER'S WIFE

LEANN RIMESA’CURB77831(10.98/15.98) BLUE

™E DON KILLUMINATI, THE 7 DAY THEORY

BUSH TRAUMA90091MNTERSCOP£<10.9a'16.98) RAZORBLADE SUITCASE

DEANA CARTER A nin i SHAVE MY LEGS FOR THIS’

CAPITOL NASHVIUE 37614 (10.9a'l5.98)H ^ ^ bnMVt MT Lttab tVH Itllb.

ALANI5 MORISSETTE A‘* MVDtlXREPRiSE <M01AV7 RnDI BAOS. <10981696! SB JAGGED LITTLE PILL

COUNTING CROWS A 0GC24975*/G£FFEN (10.981 7.98) RECOVERING THE SATELLITES

KEITH SWEAT A^ ELEKTRA 61707’/£EG [10.9EV16.98) KEITH SWEAT

BLACKSTREET A iNTERSCOPE 90071- (10.98/16.98) ANOTHER LEVEL

NEI

*►

* ★ * Hot Shot Debut* ★ *

SOUNDTRACK 0UZ2 TONE 50635-/PRI0RITY (10 98/16.98) RHYME & REASON

JEWEL A’ ATLANT)C8270(VAGn0.98'15.98)BB PIECES OF YOU

AALIYAH • BLACKGR0UN09371S/AG (10.98/16.96) ONE IN A MILLION

THE WALLFLOWERS • INTERSCOPE 90055 110.9816.98) GS BRINGING DOWN THE HORSE

31 1 A CAPRICORN 943041A1ER(XIRY (10.98 E(V16.98) 311

VARIOUS ARTISTS • AmSTA 18943 (10.98/17.98) ULTIMATE DANCE PARTY 1997

KENNY G A" ARISTA 18935 no.9&'16.98) THE MOMENT

FOXY BROWN VIOLATOR/DEF jam 533684-/MERCURi' (10.98 E(V16.98) ILL NA NA

BABYFACE A EPIC 67293* (10.98 E(VI6.98) THE DAY

“™?S95.6 98. BEAVIS and BUn-HEAD DO AMERICA

SUBLIME • GASOUNE ALLEY 11413d4CA (10.98/16.98) SUBLIME

SNOOP DOGGY DOGG DEATH ROW 90O38-/INTERSCOPE (10.98/16.98) THA DOGGFATHER

SHERYL CROW A asm 540587 ao.98/16,98) SHERYL CROW

DAVE MATTHEWS BANDA^RCA66904(i0.9a'16.98) CRASH

VARIOUS ARTISTS A tommy boy ii63 (10.98/16.98) JOCK JAMS VOL. 2

NEW EDITION A MCA 1 1480- (10.98/16.98) HOME AGAIN

TONY TONI TONE • mercury 534250 (10.98 EQ/16.98) HOUSE OF MUSIC

VAN HALEN Warner bros. 46332 (ii.98/i7.98) BEST OF VOLUME 1

ALAN JACKSON ARISTA 18613 (10.98/16.98) EVERYTHING 1 LOVE

MARILYN MANSONA nothing 90066nNTERSCOPE{)0.9&/)6.98)ANTICHRIST SUPERSTAR

vS enigma 3 LE ROI EST MORT, VIVE LE RON

CAKE • CAPRICORN 532867/MERCURY (8.98 E(V12.98) B FASHION NUGGET

GINUWINE 550 MUSIC 67685iEPIC (10.96 EI^16.98) B GINUWINE... THE BACHELOR

WESTSIDE CONNECTION A i^nch mob S0S83'/PRI0RiTY (10.98/16.98) BOW DOWN

SOUNDTRACKA EASTWEST6195l*/EEG(11.98/l7,98) SET IT OFF

THE CARDIGANS ST0Ckhixai533U7/MERCURY()0.98EQ'I896)B FIRST BAND ON THE MOON

REDMAN DEF JAM 533470-AiieRCURY (10.98 £1^16.98) MUDDY WATERS

BECK • DGC 24823-/GEFFEN (10.96/16.98) OOELAY

VARIOUS ARTISTS death row 50677/p«0RfTY (19.98/23.98) DEATH ROW GREATEST HITS

LIL' KIM • UNDEAS/6IG BEAT 92733VA6 (10.98/16.98) HARO CORE

CLINT BLACKA RCA66671 (10.98/16.98) THE GREATEST HITS

GARBAGE A ALMO sounds 80004-/GEFFEN (10.98/16.98) B GARBAGE

JOURNEYA COLUMBIA 67514 (10.98 E(yi6.98) TRIAL BY FIRE

NEW^

SOUNDTRACK RCA victor 68746 (21.98^4.98) STAR WARS: A NEW HOPE

METALLICA A^ ELEKTRA 61923*/EEG (10.98/(6.98) LOAD

MO THUGS FAMILY A MO THUGS 1561 -/RELATIVITY (10.98/16.98) FAMILY SCRIPTURES

RODSTEWARTwARNERBROS.46452(11.9a/17.98) IF WE FALL IN LOVETONIGHT

SOUNDTRACK REVOLUTION 24666AVARNER BROS. (11.98/17.98) MICHAEL

DRU HILL ISUHD 524306 a0.9aH6.98l IS ORU HILL

THIS

WEEK

LAST

WEEK

2 WKS
AGO

WKS. ON
CHART

ARTIST TITLE

LABEL & NUMBERibiSTRIBUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTCiCD)

PEAK

POSITION

TOOL • 200 31087* HO.98'16.98) AENIMA

DONNA LEWIS A atlanhc 82762/ag (10.9&1S.96) B NOW IN A MINUTE

KEVIN SHARP 143/asylum 61930if£G (10.98-1&.98) B MEASURE OF A MAN

REBA MCENTIRE MCA 1 1500 (10.9a'I6.98) WHAT IF IT'S YOU

MELLON COLLIE AND THE INFINITE SADNESS

VIRGIN 40861 ()9.98/?4.98)

SOUNDTRACK COLUMBIA 67910 (10.98 E(^17.98) ONE FINE DAY

ELTON JOHN • MCA 11481 (10.98/16.96) LOVE SONGS

132

BLOODHOUND GANG REPUBUC 25124A1EFFEN (10.98/16.98) B ONE FIERCE BEER COASTER

SHANIA TWAIN A* MERCURY Nashville 522866 <10.98 E(V16.98) B THE WOMAN IN ME

LUTHER VANDROSSA lV67553*/EPlC<10.986CV16,98) YOUR SECRET LOVE

LL COOL J • DEF JAM 534125*A1ERCURY(11.98E(V17.96) ALL WORLD

□D

NEW^

BJORK ELEKTRA 6I697*/EEG{}0.9a'16.98) TELEGRAM

SOUNDTRACK A COLUMBIA 67887 (10.98 E(Y17.98) THE MIRROR HAS TWO FACES

CM)

VARIOUS ARTISTSATOMMYBOv 1137(10.98/15.98) JOCKJAMSVOL. 1

2PAC A’ DEATH ROW/INTERSCOPE 524204-/1SLAN0 (19,98/24.98) ALL EYEZ ON ME

BONETHUGS-N-HARMONYA'RuTNL£SSS539-/fiEunvirY()0.9aas.9e) E. 1999ETERNAL

MINDY MCCREADYA BNA 66806 (10.9^16.98) B TEN THOUSAND ANGELS

BROOKS & DUNN A arista 18810 U0.9&/15.38) BORDERLINE

118

OF LOVE - 16 GREAT SOFT ROCK HITS

' « T«“ES humbly united GATHERIN’ SOULS

FIONA APPLE • CLEAN SLATE/WORK 67438IEPIC (10.96 EQ/16.98) B TIDAL

106

BUSH A^TRAUMA9253}/INTERSCOPE(10.98/15.98)B SIXTEEN STONE

TRACY CHAPMAN A’ ELEKTRA 6)85aE£G (10.98'16.98) NEW BEGINNING

110

MAXWELL • COLUMBIA 66434 (10.98 EQ/16.98) B MAXWELL'S URBAN HANG SUITE

ore presents... the aftermath

GEORGE STRAIT A MCA 1 1428 (10.98/16.96) BLUE CLEAR SKY

JOHN MICHAEL MONTGOMERY • what i no thf rf<?t

ATLANTIC 82947/AG (10.98/16,98) ^

-f- NPG 54982/EMI (22.9834.98) EMANCIPATION

E-40A SICK WlO'fT 41591/JIVE (11.98/16.98) THA HALL OF GAME

MOBB DEEP LOUD 66992*/RCA no.98'16.98) HELL ON EARTH

AZ YET LAFACE 26034/ARlSTA (10.98'15.98) AZ YET

125

LUSCIOUS JACKSON GRAND ROYAL 35534*/CAPITOL (10.9815.98) FEVER IN FEVER OUT

SOUNDGARDEN A a&m 540526* ao.98i6.98) DOWN ON THE UPSIDE

109

IIG

VARIOUS ARTISTS POLYOOR 535877/A&M (10.9816.98) PURE DISCO

VARIOUS ARTISTS • iuitw party TO GO VOLUME 10

T0)4MYB0Y1168(11.9816.98) MIVrflKIY lObU VULUMt iU

KORN • IMMORTAL 67554/EPIC (10.96 ECV16.98) LIFE IS PEACHY

103

DO OR DIE • RAP-A-LOT/NOO TRYBE 42058VIRGIN (10.9815.98) PICTURE THIS

So™1ff£N(10.»16.98) MUDDY BANKS OF THE WISHKAH

101

111

JOHNNY Gia • MOTOWN 530646 (10.9816.98) LET'S GET THE M(X)D RIGHT

SOUNDTRACK EPIC SOUNDTRAX 67910/EPIC (10.98 EQ/17.98) JERRY MAGUIRE

BRYAN WHITEA asylum 6188(VEEG (10.9815.98) BETWEEN NOW & FOREVER

105

100

RAGE AGAINST THE MACHINE A EPIC 57523* (10,98 E<V16.98) EVIL EMPIRE

TOE BEATLES apple 3445 l*/CAPfTOL (19.9830.98) ANTHOLOGY 3

TOE CRANBERRIES A' tSUND 524234* (10.9816.98) TO THE FAITHFUL DEPARTED

NEW^

JAMIROQUAI WORK 67903m: (10.98 E(V16.98) TRAVELING WITHOUT MOVING

100

110

GARTH BROOKS A^ capitol Nashville 29689 (io.98i5.98) THE HITS

101

FUGEES A’ RUFFHOUSE 67147*/COLUM8A (10.98 £Q/16.98) THE SCORE

102

MARIAH CAREY A* COLUMBIA 66700 (10.98 E(V16.98) DAYDREAM

3M)

126

199

SOUNDTRACK PHIUPS 45471CYP0LYGRAM CLASSICS (10.9816.96) SHINE

103

104

QUAD CITY DJ’S • QUADRASOUNMIG BEAT 82905VAG (10.9816.98) GET ON UP AND DANCE

105

104

ALAN JACKSON A* ARISTA 18801 (10.9816.98) THE GREATEST HITS COLLECTION

106

111

124

112 •BAOB0T73009/ARISTA(IO.981S.98) 112

107

102

GHOSTFACE KILLAH • RAZ0R$HARP/EPlCSTREET67729'mn0.98EQ/}6.98) IRONMAN

3®

140

186

TELA SUAVE HOUSE l5S3/RElATlVnY (10.9815.98) PIECE OF MIND

109

OASIS A^ EPtC 67351 (10.98 £916.98) (WHATS THE STORY) MORNING GLORY?

OAII>ums witti the greatest sales gains this week. #Recording Industry Assn. Of America (RIAA) certification for sales of 500,000 album units (250,000 for EPs). ARIAA certification for shipment of 1 millicm units (500,000 for EPs). with muttiplatinum titles indicated by
a numeral following the symbol. ^Asterisk indicates LP is available. Most tape prices, and CD prices for WEA and BMG labels, are suggested lists. Tape prices marked EQ, and all other CD prices, are equivalent prices, which are project^ from wholesale pr ices, Greatest
Gainer shows chart's largest unit increase. Pacesetter indicates biggest percentage growth. Heatseeker Impact shows albums removed from Heatseekers this week. D indicates past or present Heatseeker title, o 1997, Billboard/BPi Communications, and SoundScan, Inc.

BILLBOARD FEBRUARY 1. 1997

COntinilUll February i.ies?

THIS

WEEK

§i

2WKS

AGO

WKS. ON
CHART

ARTIST TITLE

LABEL 6 NUMSERrOlSTRlBUTING LA8EL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTE/CO)

PEAK

POSITION

THIS

WEEK

LAST

WEEK

2 WKS
AGO

WKS. ON
CHART

ARTIST TITLE

LABEL & NUMBEfVDISTRiSUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSCTTE/CO)

' PEAK
POSITION

OUTKASTA LAFACC 26029VARISTA (10.98/16.98) ATLIENS

(SD

182

191

ORIGINAL BROADWAY CAST • DREAMWORKS 5000a>GEFFCN (22.98/32.98) RENT

111

120

130

POE • MODERN 92606'AG (10.98/16.98) OB HELLO

156

147

172

LOCAL H ISLAND 524202 (8.9^14.98) IES AS GOOD AS DEAD

147

(II2)

133

154

BETTER THAN EZRA SWELL/ELEKTRA 61944*/EEG <10.98'16.98) FRICTION BABY

(M>

176

175

DC TALKA FOREFRONT 25140 (10.98/16.98) JESUS FREAK

113

106

122

COLLIN RAYE A EPIC 67033 (10.98 £Q/iS.98) 1 THINK ABOUT YOU

158

143

131

LA BOUCHEA RCA66759(9.98/15.98) SWEET DREAMS

114

115

*^EIRD AL" YANKOVIC A ROCK'NRGLLSCOTTIBROS 7SS0CkAUAMEftiCM(10.9a')S.9e) BAD HAIR DAY

159

149

176

CHRIS ISAAK REPRISE 4632&WARNER GROS. (10.S8'16.98) BAJA SESSIONS

115

NATALIE MERCHANT A’ ELEKTRA61745/EEG <10.98/16.981 TIGERLILY

160

144

139

PHISH EI^KTRA61971/EEG (10.98/16.98) BILLY BREATHES

116

100

112

ALICE IN CHAINS A COLUMBIA 67703 (10.98 £(>16.98) UNPLUGGED

161

142

141

VINCE GILL* MCA 11422 00.98/16.98) HIGH LONESOME SOUND

117

116

117

FAITH HILLA^warnerbros.4S872U0.9&'16.98) IT MATTERS TO ME

162

160

166

2PAC A INTERSCOPE 50609*/PRIORITY (10.9arl6.98) ME AGAINST THE WORLD

118

108

121

JOHN MELLENCAMP • MERCURY 632896 (10.98 EQ/)6.98> MR. HAPPY GO LUCKY

163

173

194

ENYA A' REPRISE 46106W/ARNER8R0S. 111.98/17.98) THE MEMORY OF TREES

119

129

152

THE ISLEY BROTHERS A T-NECK 524214/lSlAND (10.98/16.98) MISSION TO PLEASE

164

!79

187

SOUNDTRACK * LONDON 448295 (10.98/16.98) BRAVEHEART

120

PEARL JAM A EPIC 67600* (10.98 E016.98) NO CODE

165

153

143

R. KELLYA*JIVE41579*U0.98/16.98) R. KELLY

(HD

131

179

BILL WHELAN CELTIC HEARTBEAT 82816/AG <11.98/17.981 IS RIVERDANCE

113

a©

NEW^

702 BIV 10 530738*/MOTOWN (8 98/16.98) Eg NO DOUBT

166

(n?)

141

142

KIRK FRANKLIN AND THE FAMILY • wwATr'MA i nnitiw a

GOSPO CENTRIC 72127 (9,98/15.98) WMMI OMA LUUMFV 4

167

146

145

TRAVIS TRITT WARNER BROS. 46304 110,98/16.98) THE RESTLESS KIND

(153)

139

184

THE ROOTS DGC24972*/G£FFEN (10.98/16.98) ILLAOELPH HALFLIFE

168

159

140

VARIOUS ARTISTS * SOSOOEf 67S32*;O0LUM8lA(10.9B£a'16.96l SO SO DEF BASS ALL-STARS

124

114

136

NO MERCY ARISTA 18941 (10.98/15 981 NO MERCY

114

169

178

SHAWN COLVIN C0LUM8iA67119(10.98EQ'i6.9S) A FEW SMALL REPAIRS

125

113

120

KEITH MURRAY JivE 41695‘ (10.9^16.98) ENIGMA

170

132

133

PHIL COLLINS* FACE VALUE 82949/AG (10.98/16.98) DANCE INTO THE LIGHT

(OD

163

170

SMRROW 51K2™»*98I THE TEAR’S 30 TOP CHRISTIAN ARTISTS AND SONGS

171

166

180

astro CREEP; 2000 SONGS OF LOVE, DESTRUCTION

BtrrtN Z4tjOo (lO.TSi lo,9s)

127

121

tos

MERRIL BAINBRIDGE UNIVERSAL 53019 n0.98'l5.98l SB THE GARDEN

101

172

155

161

GLORIA ESTEFAN A EPIC67283<10.98E(^‘I6.98) DESTINY

128

124

137

JULIO IGLESIAS Columbia 67899 <10.98 E<i'l7.98) TANGO

173

169

167

TRACY LAWRENCEA ATLANTIC 82866/AG no 98'15.98) TIME MARCHES ON

Q®

145

153

DA BRAT • SO SO DEF 67813*/C0LUMBtA <1098 EQ/16.98) ANUTHATANTRUM

174

168

157

SAMMY KERSHAW mercury NASHV rulS28893 <10.96 EQ/16.981 POLITICS, RELIGION AND HER

115

130

112

119

AWic MUSIC...SONGS FROM THE VATICAN GIFT SHOP

175

148

126

SOUNDTRACK * PLAYT0NE!/EP»CSOUN0TRAX6782aEPlCaO.98E<I'17.98) THAT THING YOU DO!

(SD

198

*** Pacesetter ★ ★ ★

SOUNDTRACK* REPRISE 46360(WARNER BROS. (11.98/17.98) PHENOMENON

176

177

174

REPUBLICA DECONSTRUCTION 66899/RCA (8.98/13.98) BS REPUBLiCA

153

177

150

156

PATTY LOVELESS * EPtC 67269 (10.98 E015.98) THE TROUBLE WITH THE TRUTH

132

127

149

TRACE ADKINS CAPITOL NASHVtLlE 37222 (10.98/15.98) SB DREAMIN' OUT LOUD

116

178

164

173

VARIOUS ARTISTS quality 675QWARL0CK (12 98/16.98) DANCE MIX U.S.A. VOL. 5

101

133

123

101

TERRI CLARK MERCURY NASHVILLE 632879 (10.98 EO/16.98) JUST THE SAME

179

154

144

SOUNDTRACK A miramax l62O<7/H0UYWO0O<10.9a/l7.93) THE CROW; CITY OF ANGELS

134

117

113

MARY CHAPIN CARPENTER • a p, Arr .m tuc WORLD

C0LUM81A67501 <10.98£H'16.98) ^ IN THE WORLD

180

165

155

VARIOUS ARTISTS emi-capitol 54555 (10.98/16.98) LUV COLLECTION: MOVIE LUV

155

135

125

105

SIS>^°46f5’!MI0.».6A8, «HAT THE HELL HAPPENED TO ME?

181

183

EPIPHANY; THE BEST OF CHAKA KHAN VOLUME ONE

136

148

GARY ALLAN DECCA ll482/MCAao.98/16.96){IS USED HEART FOR SALE

136

(SD

RE-ENTRY

TRICKY ISLAND 524302 (l0.9a''l6.9B) SB PRE-MILLENNIUM TENSION

140

137

107

THE PRESIDENTS OF THE UNITED STATES OF AMERICA • „

COLUMBIA 67677* (10.98 Ea'l6.98)

183

187

185

TRACY BYRD mca 1 1485 (10.98/16,981 BIG LOVE

121

138

130

158

MARK CHESNUTT DECCA nS29-MCAU0.98/16.98) GREATEST HITS

130

184

175

SOUNDTRACK * A4.M 540364 (7.98/11.98) EMPIRE RECORDS

139

122

109

NAS COLUMBIA 67015* (10.98 EQ'16.98) IT WAS WRITTEN

185

158

128

BARRY MANILOW arista 18609 (10 9EV16.98I SUMMER OP '78

140

119

106

HOOTIE & THE 6LOWFISH A* ATLANTIC 82886*/AG (10.98/1698) FAIRWEATHER JOHNSON

186

184

197

ROBERT MILES DECONSTRUCTION 1893Q/ARISTA (1098/15 98) DREAMLAND

187

167

163

TIM MCGRAW A^CURB77800<10.98/16.98) ALL I WANT

141

110

103

R.E.M. A WARNER 8R0S 46320* (10.98/16.98) NEW ADVENTURES IN HI-FI

(HD

NEW a-

DUNCAN SHEIK atuntic 8287%'AG ao.9a'l5.98) BS DUNCAN SHEIK

188

142

137

138

BRYAN ADAMS • A&M 640S51 (10.9&’I6.98) 18 TIL 1 DIE

189

156

135

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143

118

114

NATALIE COLE • ELEKTRA6194&EEG(10.98'16.98) STARDUST

190

170

147

LL COOL J A' DEF JAM 523845*.MERCURY <10.98 £Q'17.98) MR, SMITH

144

128

115

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191

196

CURTIS MAYFIELD WARNER BROS. 46348 (10.98/16.98) NEW WORLD ORDER

137

145

135

129

S«l mi'SSIIm* MUSIC OF VINCE GUARALOl

192

199

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144

146

162

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134

193

181

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148

151

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200

TOP ALBUMS A-Z (USTED BY ARIISTS)

112 106
2Pac 69. 162
311 20
702 166

Aaliyah 18
Bryan Adams 142
Trace Adkins 132
Alice In Chairrs 1 16
Gary Allan 136
Fiona Apple 76
AzYet 85
Babyface 24
Memf Bainbndge 127
Tlie Beatles 97
Beck 43

Better Than Ezra 112
Biork 66
Clint Black 46
BlACKstreet IS
B-Le^t ISO
Bioodnound Gang 62
Bone Thugs-N-Harmony 70
Paul Brandt 196
Toni Braxton 6
Brooks & Dunn 72
Garth Brooks 100.189

Foxy Brown 23

Bush 10.76

Tracy Byrd 183

Cake 37

The Cardigans 41

Manah Carey 102

Maiy Chapin Carpenter 134

Oeana Carter 1 1

Tracy Chapman 77

MaikChesnutt 138

Tern Clark 133

Natalie Cole 143

PhilCollms 170

Shawn CoivM 169

CouniIngCrows 13

TheCranbemes 98

SheiylCnw 28

Da Brat 129

dcTalk 1S7

Celine Dion 4

Do Or Die 91

OtuHill 54

E-40 83

Enigma 36

Enya 163

GlonaEstelan 172

Flesh-N-Bone 74

Kirk Franklin And The Family

Fugees 101. 152

Fun Lovin' Cnmirtals 192

Kenny G 22

Garbage 47

Ghosttace Killah 107

Johnny Gill 93

Vince Gill 161

Gmuwine 38

Faith Hill 117

Hootie & The Blcwfish 1 40

Ennque Iglesias 199

Julio Iglesias 128

Chris Isaak 159

The Isloy Brothers 119

Alan Jackson 34. 105

Jamiroquai 99

Jars Of Clay 151

Jewel 17

Elton John 61

Journey 48

R. Kelly 165

Sammy Kershaw 174
ChakaKhan 181
,,, Kom 90

Kuia Shaker 200
La Bouche 158
Tracy Lawrence 173
Donna Lewis 56
yr Kim 45
LLCooi J 65. 190
Local H 156
Patty Loveless 177
Luscnus Jackson 36
Makaveli 9
Barry Manilow 165
Marilyn Manson 35.154
Dave Matthews Band 29
Maxwell 78
Curtis Mayfield 191
Mindy McCready 71
Ret» McEntire 58
Tim McGraw 187
John Mellencamp 118
Natalie Merchant 115
htetalirca 50
Robert Miles 186
Mint CofKbtion 153

MoM) Deep 84

John Mich^ Montgomery 61

Alants Monssette 12

Mo Thugs Family 51

Keith Murray 125

NAS 139

New Edition 31

Nirvana 92

No Doubt 1

No Mercy 124

Oasis 109

ORIGINAL BROADWAY CAST
Rent 155
Outkast 110
Pearl Jam 120
Peggy Scott-Adams 147
Phish 160
Poe 111

Point Of Grace 194
The Presidents Of The United States
Of America 137
t 82

OuadCityOJ's 104
R.C.M. 141

Rage Against The Machine 96

Collin Raye 113

Redman 42

Republka 176

Richie Rich 149

LeAnn Rimes 8

TheRoote 123

Rusted Root 198

Adam Sandler 135

Kevin Sharp 57

Duncan Sheik 188

The Smashing Pumpkins 59

Snoop Doggy Oogg 27

Soundgarden 87

SOUNDTRACK

Seavis And Butt-Head Do America
25

Braveheart 164
The Crow: City Of Angels 179
Empire Records 184
Evila 2

Jerry Maguire 94
Michael 53

The Mirror Has Two Faces 67
One Fine Day 60
Phenomenon 131

The Preacher's Wife 7
Rhyme & Reason 16
Romeo + Juliet 3
Set It OK 40
Shine 103
Space Jam 5
Star Wars: A New Hope 49
That Thing You Ool 175
Rod Stewart 52
Slone Temple Pilots 130
George Strait 80
Subirme 26
Kedh Sweat 14
Tela 108
Tony Toni Tone 32
Tool 55
Tricky 182
Travis Tritt 167
Shania Twam 63
Van Haten 33
Luther Vandross 64
VARKDUS ARTISTS
All That: The Album 146
The Best Of Country Sii% The Best
Of Disney 148
Dance Mix U.S.A. Vol. 5 178

Death Row Greatest Hits 44
Or. Dre Presents... The Aftermath
79

Jock Jams Vol. 1 68
Jock Jams Vol. 2 30
Luv CollectKKi: Movie Luv 180
MTV Party To Go — Volume 10
89

Power Of Love — 16 Great Soft
Rock Hits 73
Pure Dtsco 88
So So Def Bass All-Surs t68
Super Dance Hits — Vol. 1 144
Ultimate Dance Party 1997 21
Wow-1997: The Year’s 30 Top
Christian Artists And Songs 126
Stevie Ray Vaughan & Double Trouble
197

The Wallflowers 19
Andrew Lloyd Webber 195
Westside Connection 39
Bill Whelan 121
Bryan Wtiite 95
White2omb«e 171.193
George Winston 145
“WeKd AT Yankovic 114

BILLBOARD FEBRUARY 1. 1997

BBC’S ‘COUNTRY NIGHT’ EXPECTED TO BOOST SALES

(Continued from page 1)

8:05 p.m.-2:30 a.m. “Country Night” has
substantial retail backing, especially
from the Virgin chain, which is among
those supporters and participants that
are confident the event will be of sig-
nificant benefit to the still-patchy sales
performance of the genre here.

Widely agreed to represent the most
extensive exposure ever given to coun-
try music in a single TV event in the
U.K., “Country Night” included a spe-
cial concert, filmed in a joint venture
with U.S. cable channel TNN, at
Nashville’s Ryman Auditorium, featur-
ing Clint Black, Alison Krauss, Marti-
na McBride, Ricky Skaggs, and Faith
Hill; the domestically produced docu-
mentary “Song Roads,” starring Kathy
Mattea and Scottish folk singer/song-
writer Dougie MacLean; and a live per-
formance by Jerry Jeff Walker.

Also featured throughout the
evening were a series of endorsements
of the genre by country-loring British
celebrities, presented under the banner
“Talking Country.”

“You get an initial benefit from
fcountrj' events on U.K. television],”
says Simon Coe, product manager for
Virgin Our Price. “Then when ^e tide
goes down, you tend to get a higher
watermark. This [event] has got to be
beneficial in the long and short term,
and if it’s successful, the BBC will be
tempted to do more.”

The chain is supporting the event
with a two-week display campaign run-
ning Jan. 20 to Feb. 2 in all 71 of its Vir-
gin stores. The “Country Night” title
and BBC logo are being displayed on
side panels, or “deckchairs,” and at
point-of-sale; some 16 titles are includ-
ed in the promotion, among them cur-
rent albums by Mattea, Krauss, Vince
Gill, Mindy McCready, and BR5-49.

At Tower Records’ flagship store in
London’s Piccadilly, country music
buyer Ruth Morris said at press time
that the outlet was planning a display

rack of featured artists. “Any country
show on mainstream television attracts
interest,” she says, “And it lasts for
quite a w'hile afterward.”

HMV is also racking current coun-
try titles on the strength of the event.

BBC Television’s head of music pro-
grams, Avril MacRory, says, “We’re
very conscious that while country
music is far more popular [in Britain]
than it used to be, there are still a lot of
people with preconceived ideas about
it. Without being proselytizing, we’re
trying to celebrate both the new per-
formers like Alison Krauss and Vince
Gill, who are reaching a new audience,
and reflect the tradition they came
from. The key [was] to reproduce 614
hours that’s a bit of a knees-up that
people can enjoy and invite their
friends ’round.”

“It’s hard not to go over the top
about this telecast,” says Jeff Green,
senior director of international and new
business development at the Nashville-
based Country Music Assn. (CMA).
“We’re particularly grateful to Avril
MacRory for her support of this pro-
ject, and we believe it will maintain the
strong interest level generated by the
[U.K. broadcast of the] 1996 CMA
Awards, w'hich drew over 2 million
U.K. viewers and a 17 share just three
months ago. U.K. record sales from the
awards [e.xposure] increased signifi-
cantly, and we’re optimistic that [this
event] will generate even more retail
activity. It’s a landmark evening in
every respect.”

Brian Hughes, VP of programming
at TNN, says of the Ryman concert
special, “We’ve been talking for a long
time about doing something with the
BBC. It’s all blended together into
what I think is an essential 80-minute
special.” The Ryman concert will sub-
sequently be used by TNN as two sep-
arate editions of the channel’s “Mon-
day Night Concert With Ricky Skaggs”

series.

“The lineup at this show will really
resonate well with a U.K. audience,”
Hughes adds, “and there’s a real buzz
here about the whole thing.”

The venture won a significant acco-
lade when Parton, an interview with
whom launched the special, was select-
ed for the cover of the current edition
of popular consumer publication Radio
Times. The venerable TV and radio list-
ings magazine has an audited weekly
circulation for January-June 1996 of
1,406,417.

“We couldn’t have wished for more,”
says Iain Snodgrass, U.K. strategic
marketing/sales manager at Parton’s
label, MCA, who hopes to see retail
action on Parton’s “li^asures” as well
as on current albums by Gill and Reba
McEntire. Snodgrass collaborated with
BMG on press advertising to run in
Sunday broadsheets on the morning
after the “Country Night” broadcast

“If we don’t see similar results to
those after the [U.K. broadcast of the
CMA Aw'ards], I’ll be very disappoint-
ed,” he says.

Richard Wootton, of Richard Woot-
ton Publicity, which represents sever-
al artists featured on “Country Night”
and is publicizing the event, has long
wrestled wth the profile problems of
country music in the British market.
“Like rap and heavy metal, it doesn’t
get played on British radio, because it
has a high turnoff factor, but that’s not
the case on TV,” he says.

Wootton cites the highly encourag-
ing viewing figures for BBC2’s cover-
age of the 30th CMA Awards last
autumn (Billboard, Oct. 26, 1996), which
averaged 2.1 million view'ers, a 50%
increase over the previous year.

‘The big albums that got the [CMA]
awards did pick up,” confirms Virgin’s
Coe, whose comments are echoed by
Valerie (5eorge, buyer for country spe-
cialist retailer Bud’s in Penge, south-

WILLIAM MORRIS AGENCY TO LAUNCH RECORD LABEL

(Continued from page 6)

“Nothing’s been allocated yet,” he says.

The stumbling block that had to be
overcome w'as potential conflict of
interest — ^whether an agency that rep-
resents artists has the right to be a pro-
ducer of music or other entertainment.
The American Federation of Television
and Radio Artists (AFTRA), the radio
and 'TV performers union, has prohib-
ited talent firms from, say, producing
'TV shows that employ the actors and
writers whom the agencies represent,
or operating labels that record musi-
cians vdio are their clients.

But in this case, according to Rosen-
berg, the agency convinced AFTRA
that it did not represent its musician
clients in contract negotiations with
their record companies, nor would it
attempt to entice its clients to join the
new label. For the most part, musical
artists are represented by managers or
attorneys in contract talks with labels.

Because regulations limit agencies to
10% of clients’ earnings, some of the
larger firms have sought growth by
branching off into new businesses. Cre-
ative Artists Agency helped create
commercials for Coca-Cola and bro-
kered a programming venture with
some of the telephone companies.

But some observers wonder if this is
a good time to start a label. A number of
record companies have commenced in
recent years — some begun by veteran
record executives like David Geffen, A1
Teller, and Walter Yetnikoff — and
industry sources believe there may be
a thiiming of the ranks of musical and

executive talent. Moreover, the music
business is in a slump now', with album
sales flat last year.

“We think the music business is a
very healthy business,” says Rosen-
berg. “It may have small growth now
but it has grown tremendously in the
past 20 years.”

Rosenberg says that the label “prob-
ably will focus on contemporary
artists” and that outside executives will
be sought to operate the company. “It
will be a stand-alone business,” he says.
“It w'on’t be run from within the

Arista executive VP/GM Roy Lott
agrees that the new relationship is
mutually beneficial. “We’ve had an
incredible amount of success with Dal-
las and expect to continue doing so as
we move forward,” he says.

According to Lott, Austin’s obliga-
tion to produce records for Arista
spans the time spelled out in the origi-
nal joint-venture deal. Additional terms
of the evolving relationship, such as the
final Rowdy roster, were being negoti-
ated at press time.

Austin plans to take a cutting-edge
approach to signing acts at Rowdy. “If
I know [consumers] want a certain
sound, I want to be the first to bring it
to them,” he says.

Austin quickly made a name for him-
self in the business as a hit-making pro-

agency.” But he points out that agents
are always on the lookout for new tal-
ent and that William Morris could “use
its staff to find great new artists.”

He says the label probably will not
be named after the agency.

William Morris, which has offices in
Beverly Hills, Calif., New York,
Nashville, and London, employs more
than 200 agents. The label venture has
been spearheaded by Rosenberg and
Walter Zifkin, the agency’s COO.
Rosenbei^ says they have b^n work-
ing on the plan for more than a year.

ducer, scoring chart-toppers for plat-
inum-certified R&B acts such as 'TLC,
Boyz II Men, and Monica. He fur-
thered his diverse creative reputation
by producing for pop stars such as
Michael Jackson, Madonna, and Bjork
and rockers such as Mick Jagger.

Austin created Dallas Austin
Recording Projects, his production
company, in 1989 and had early success
with 1991’s “lesha” by Another Bad
Creation and “It’s So Hard To Say
Goodbye To Yesterday” by Boyz II
Men, both of which were No. 1 R&B
hits for Motown.

When Rowdy was foimded in 1993, it
was initially run through a single office
at Arista-distributed LaFace. Austin
was offered a joint-venture deal with
Arista a year later.

AUSTIN, ARISTA REWORK DEAL

(Continued from page 6)

east London.

‘The CMA show did make a differ-
ence,” she says, adding that 85% of her
store’s business is mail order. “We were
selling a lot of Shania Twain after that
[‘Countiy Night’] looks like a fairly good
mix of country. It’d be nicer if they put
in a few more of the newer artists.”

Among such newer acts that Coe
says could benefit from their “Country
Night” appearance is Arista’s BR5-49,
which has spent a considerable amount
of time in the U.K. in recent months.

The act performed “live” for the

show at its celebrated home venue in
Nashville, Robert’s Western Wear, in
a sequence featuring BBC presenter
and musician Jools Holland.

‘The fact that they’re putting all the
music out in one night is amazing,” says
BR5-49’s Jay McDowell, anticipating
the show. “It seemed like something
they might do as a series over time.
What’s been nice is that country music
has opened up to bluegrass, gospel,
rockabilly, and straight honky-tonk,
and it’s nice that so many of those
styles are represented in this night”

by Creoff May field

New KIDS IN TOWN: Even in a business known for its uncertainties, a
few constants prevail. One is that developing artists usually have a hard time
making progress during the fourth quarter, when familiar names rule the
gift-shopping season. Another is that those newer talents have an easier time
breaking through the pack when music store traffic gears down from holi-
day bustle to non-holiday pace. Happily, the latter holds true again in these
early days of 1997.

The Cardigans, for example, have advanced more than 90 places over the
last three weeks on The Billiard 200. After scoring the largest unit increase
on last week’s chart, a boost that translated into a 92-52 leap, the Swedish
act rolls a 21% gain and advances to No. 41.

The fire started with the inclusion of the band’s “Lovefool” in the movie
“Romeo -v Juliet,” one of the tracks that helped push that film’s soundtrack
as high as No. 2. Now, with video channels pushing “Lovefool” — it’s the sixth-
most-played video at MTV and the No. 8 clip at VH 1 , according to Broadcast
Data Systems — the song is heating up the (Cardigans’ owm album. During the
tracking week, which concluded Jan. 19, Mercury reports that “First Band
On The Moon” advanced 20-6 at Wherehouse, 23-12 at the Wall, 54-37 at the
Musicland Group, and 79-37 at the Wiz. Starting Saturday (1), the Cardigans
w\\\ fan the flames with 30 North American concert dates, some as the head-
liner and some as the warm-up for Beck.

More , AND THEN SOME: The Cardigans are not alone. Other develop-
ing acts who make hay this week: the Wallflowers (26-19, a 23% gain), Gin-
uwine (48-38, a 5% gain), Dru Hill (68-54, a 27% gain), Donna Lewis (71-
56, a 25% gain), Kevin Sharp (63-57, an 11% gain), Bloo^ound Gang (85-62,
a 26% gain), and Tela (140-108, a 2S% gain). For all but Lewis, this week’s
chart positions represent new Billboard 200 plateaus.

Celluloid sizzles: As noted here last week, soundtracks crackle dur-
ing the first month or two of a new year. That contention is underlined this
week on The Billboard 200 by the advance to No. 2 of the pricey “Evita” dou-
ble set, the Hot Shot Debut at No. 16 of “Rhyme & Reason,” and a splashy bow
at No. 49 by a new recording from a 20-year-old film.

“Evita” moved on to an additional 219 screens during the tracking week.
At No. 3 on the box-office chart, its 923-screen tally is less than half the num-
ber of theaters held by each of the top two films, and it has by far the largest
per-screen average of the top 40 films. The additional exposure helps the
soundtrack cop this week’s Greatest Gainer trophy; the 21,500-unit increase
pushes the soundtrack four places higher than its previous peak. Speaking of
trophies, those won at the Jan. 19 (k)lden Globe Awards by Madonna and
the film should advance its unit total even further on next week’s chart, but
probably not enough to dislodge the chart-topping No Doubt. No Doubt only
suffers an 8% sales decline and leads “Evita” 143,000 units to 104,000.

In addition to copping the Hot Shot Debut on both The Billboard 200 and
Top R&B Albums, the soundtrack to “Rhyme & Reason” — a film that will
not be seen for more than a month — snags the No. 1 slot on the latter chart
'The album features A Tribe Called Quest, Busta Rhymes, Mack 10, Tha
Dogg Pound, E-40, KRS-One, and others. The documentary, which spot-
lights the careers of such rap acts as Dr. Dre, 2Pac, Ice-T, the Fugees,
Salt-N-Pepa, Heavy D, and Da Brat, is tentatively scheduled to hit the-
aters March 14.

Unless you live in a cave, you’re aware that Friday (31) is the day that
George Lucas’ enhanced treatment of the original “Star Wars” invades
screens. The hearty debut at No. 49 of the film’s simUarly beefed-up sound-
track shows that the general public is indeed aware of the historic film’s new
life. While the new version of the film features improved special effects and
scenes that were cut from the original, the soundtrack offers its own new
tricks. For one, this album marks the first time that tracks are sequenced in
the same order they were heard in the movie. It also includes compositions
that were written for, but not included, in the film. RCA Victor will ^so issue
deluxe soundtracks for the second and third installments of the “Star Wars”
series later this year when the new takes of those films make their debuts.

The “Rhyme & Reason” album exceeds 47,500 units in its first week out,
while the double-set “Star Wars: A New Hope” moves 22,000 units.

BILLBOARD FEBRUARY 1, 1997

PARADIGM EXPANDS VIA LABEL, WEB SITE ACQUISITIDNS

(Continued from page 6)

million private placement overseen by
D.H. Blair, which is also said to be the
lead underwriter for the planned stock
offering.

McPartland declined to comment
on the press reports about the stock
offering.

He did say that the acquisition of Big
Deal fits into the company’s core strat-
egy. "We wanted a record group, which
can serve as a very hospitable home or
a greenhouse, if you will, for the devel-
opment of like-minded labels,” he says.
"We w'ant labels with good A&R capa-
bilities but [w'hich] are not well capital-
ized, so we can help them grow.”

McPartland says Big Deal owners
Dean BrowTirout and Dave Wolin share
Paradigm’s philosophy. "Both have
very good management credentials,”
he says. The two have been named co-
presidents of PAL.

Browmrout says that PAL is plan-
ning to release more than 30 albums
this year. Initial Big Deal titles include
a new album from Shonen Knife, which
was produced by the Robb Brothers;
the sophomore album from Hanna
Cranna, w'hich will be produced by for-
mer Badflnger member Joey Molland;
and an album from the Gladhands,
which was produced by Wes Lachot.

This spring, E^iJ Teen will release an
album by the New York-based band
X25, formerly known as Xanax 25.

Current Big Deal releases include an
album by the Wondermints.

Until now, Paradigm Records and
Big Deal have concentrated on the
alternative rock genre. But Bro\vnrout
says that the label \rill diversify into
the electronic realm and mine the
ambient, drum’n’bass, and jungle gen-
res. The first releases will be a three-
volume compilation series titled the
Promised Land.

Brow'nrout says he and Wolin are
looking through the indie-label com-
munity for possible acquisitions or joint
ventures. He says they are looking at
"alternative rock, rock, dance, anything
off the beaten track. We would be fool-
hardy to compete in the top 40 market,
although we feel our acts can cross
over.”

Wolin says that, to a degree, PAL is
already where it wants to be. "We think

CD WAREHOUSE

(Contmued from page 6)

can compete with Best Buy and just be
a music store.”

For the nine months that ended
Sept 30, the company reports adjust-
ed net profit of $140,000 on $3.5 million
in revenue, compared wth profit of
$104,000 on revenue of $2.7 million in
the same period the year before, says
Doyle MoUey, senior VP/CFO. Because
the company has essentially been a
franchiser, its revenue comes primari-
ly from franchising royalties. Sys-
temwide sales for all stores were $26
million for calendar year 1996, up from
$20 million the year before.

Kane will relinquish a day-to-day
role in the company and concentrate on
developing franchised stores intema-
tionally. He will also continue to be a
CD Warehouse franchisee in the U.S.
Jeiry W. Grizzle is chairman, CEO, and
president. Johnson and Grizzle have
experience in restaurant franchising
with the Sonic fast-food chain.

The lead underwriter for the stock
offering was Capital West Securities of
Oklahoma City. In its first day of trad-
ing on Nasdaq, the stock ranged from
$4.75 to $5.50 on volume of 359,100
shares. Its symbol is CDWI.

DON JEFFREY

there will be a massive revival of good
songwriting-based rock,” he says. “If
you start out \vith a good song, you
can’t lose.”

On the other hand, if “people want to
listen to anything abstract or avant-
garde, well we are going in that area as
well,” adds Wolin.

While Paradigm plans to explore
alternative distribution channels, it\vill
also depend on traditional markets. But
in going to retail, Paradigm will have a
portfolio of distributors to take its
product to retail: Big Deal will main-
tain its distribution through Caroline;
Paradigm Records and Evil Teen will

fastest-selling books in history, and we
see no reason why the soundtrack al-
bum won’t follow' the same pattern.”

Love him or hate him, Stern has
always taken great care in creating his
commercial products — and promotes
them endlessly from his home station,
WXRK New York.

His total involvement in his movie
soundtrack album, which Rubin pro-
duced, is “sort of a fantasy realized,”
Stern says. The tune selection, he
says, is a “treasure chest of great
songs, half classic and half new,” cov-
ering the 20 years of his career that
the movie spans.

The track listing was still in the final
planning stages at press time. But in
addition to “Hard Chai^er,” it will def-
initely include Cheap Trick’s “I Want
You To Want Me”; Deep Purple’s
“Smoke On The Water”; AC/DC’s “You

for television, plus “an open door” to
future projects.

DeLellis thinks the agreement will
raise Fox Home Entertainment from
the lower depths to the “upper tier” of
kid-vid. “It pretty well establishes us
in the broader range,” he says. “It’s
going to increase our percents^. What
level we’re going to find out.”

Its kid-vid sales lag well behind Dis-
ney’s, but DeLellis claims some recent
successes: More than 5 million copies
of three “Goosebumps” titles and more
than 1 million each of the Dr. Seuss and
Wallace & Gromit series.

Saban likely will benefit even more.
No stranger to retail, it first distributed
through PolyGram Video, then moved
to WamerVision, only to be abandoned
by WEA, which briefly took over the
label after WamerVision shut down
early last year. Saban’s biggest cas-
sette hit, the Mighty Morphin Pow'er
Rangers series, sold an estimated 15
million units, but the last entries were
considered disappointments.

Fox Home Entertainment reported-
ly will attempt to breathe new life into
Power Rangers, perhaps under a dif-
ferent name. A second Power Rangers
movie, from Fox Film, is scheduled for
theatrical release in March.

The studio earlier took a financial
stake in Saban, which in turn has been
pumping out programs for Fox Kids
Network. One of the newer arrivals is
"Beetleborgs,” watched by more than
2.5 million children a week. DeLellis
plans to release a “Beetleborgs” fea-
ture, created from several TV episodes,
March 18 at $14.98 suggested list

It will carry a minimum advertised
price of $9.98; retailers who promote
the title below MAP can lose co-op
advertising dollars. Tied in to the mar-

go through the Alternative Distribution
Alliance; and Archive will be handled
by Navarre.

McPartland says the appointment of
Bro^vn^out and Wolin as co-presidents of
PAL will allow him to concentrate on
developing Paradigm’s other basinesses.

In acquiring SonicNet, Paradigm
plans to expand its service. In Novem-
ber 1996, the second month after it was
launched, the site, which includes an
album review section and a chat room,
had more than 230,000 hits, according
to a company press release. McPart-
land says that through the develop-
ment of new programs for the site and

Shook Me All Night Long,” in a previ-
ously unreleased live version that the
band will be seen lip-syncing to in the
movie; Green Day’s cover of the Kinks’
“Tired Of Waiting For You”; an as-yet-
untitled collaboration between Stem
(singing background vocals) and Rob
Zombie; Marilyn Manson’s “The Suck”;
LL Cool J’s “My Own Rule,” featuring
members of Red Hot Chili Peppers;
Ozzy Osbourne and Type 0 Negative’s
cover of Status Quo’s “Pictures Of
Matchstick Men”; and Stern’s own
“Tortured Man,” which w'as produced
by the Dust Brothers and co-written by
them. Stern, and his radio sidekicks,
Jackie Martling and Fred Noiris.

Stem says that samples of his old air
checks — “all my bad radio shows from
early on” — ^will also be mixed into the
soundtrack album. Vintage bits of his
father Ben Stem’s singing and his own

keting campaign are Beetleborg toys
from Bandai and a music video.

DeLellis counts on Saban to provide
direct-to-video titles that Fox Home
Entertainment will need to fully com-
pete against industry leader Disney.
Titles such as “Aladdin And The King
Of Thieves,” which shipped an esti-
mated 10 million cassettes, have shown
lasting sales strength.

Saban will produce the initial direct
entry, a cartoon prequel to Universal
Studios Home Video’s 1995 direct-to-
sell-through title, “Casper.” Next year
should see the video release of the first
animated feature produced on the Fox
Film lot, “Anastasia,” which is due in
theaters next fall.

Despite what appears to be a crowd-
ed kid-vid market, DeLellis believes
there’s plenty of room for more, pro-
vided “we take our time and do it right”

ZAP MAMA’S 3RD IS 7’

(Continued from page 76)
the press.”

The European tour kicks off Feb. 27
in Germany and will take Zap Mama to
the Netherlands, England, France,
Switzerland, Italy, and Belgium.

Zap Mama will play theaters, col-
leges, and some clubs in the U.S.
March 18- April 27, before returning to
Europe for shows in Italy, Spain,
Turkey, Portugal, and Israel.

Additional tour dates are possible for
the summer in the U.S. and fall in
Europe, executives say. The group is
booked by International Music Net-
work.

Assi8ta:nce in p)'eparing this story ivas
provided by Pood Sexton in London.

a marketing initiative. Paradigm hopes
to increase the traffic to the site.

He says that SonicNet will be a vehi-
cle for the entire music industry to use
for the marketing of developing artists.
“Little, if any, of SonicNet will be used
to exploit Paradigm’s music,” McPart-
land says. “We see ourselves as an
expansion of SonicNet”

McPartland adds that Paradigm is
looking for other Internet-related
acquisitions. "We will be ready when
the music industry goes to direct deliv-
ery,” he says. “In the meantime, we wiD
use SonicNet to incite sales of physical
goods.” He notes that SonicNet

recordings made as a child in his
father’s studio will also be incorporat-
ed and will be available exclusively on
the album.

“I tried to be open-minded when
putting the soundtrack together,” adds
Stem. “Obviously, I’m a big Porno For
Pyros fan and [a fan of] White Zombie
and Marilyn Manson and Ozzie and the
other artists. Some of the classic tunes
are tunes I’ve played on the radio — and
I took a couple of great ones.

“But I love new' music,” Stem con-
tinues. “Even w'hen the station I’m on
[in New York] w'as classic rock, I
wasn’t really high on it. I’m just so
turned on by today’s music — ^which is
better than the shit I grew up with! It’s
so creative right now', with so many
good bands like the ones who are coop-
erating with the album. So it’s going to
be a fun album, and the music comple-
ments the movie. I’m really thrilled.”

Thrilled, too, is Zombie, a Stem lis-
tener since 1985 — the same year he
formed White Zombie in New York.
“It’s extra cool, because w'e’re doing
the track together,” says Zombie, who
wrote his soundtrack song over the
phone with his regular collaborator,
Charlie Clousser of Nine Inch Nails.

Stern adds that the Zombie/Stem
collaboration may eventually be made
into a videoclip, with Zombie directing.
Already lensed is a Liz Friedlander-
directed video for “Hard Charger”; it
and the single go out early this month,
Gold says, with the single aimed ini-
tially at alternative and rock formats.

According to Stem, some program-
mers have already heard the track.
“They say it’s as important as the new
U2 track at modern rock,” he says,
“and that with Jane’s Addiction being
re-formed, it’s a big deal.”

Of course, he plans on playing it and
other tracks on his ow'd show and can
surely expect additional support from
his syndication partners, at least

At alternative station KOME San
Jose, Calif. — ^where Stem reached No.
1 in the fall ratings book-— operations
manager Ron Nenni says the station is
so excited about the movie and sound-
track that it is planning a major pro-
motion to bring Stem to San Francis-
co for a premiere screening.

“He drew' 13,000 at the Virgin Mep-
store here w'hen he did a book-signing
tour, W’hen they only expected 5,000,”
says Nenni “So we’re confident that if
he came for a premiere, it would be a
tremendous success. The movie will be
huge, and we’re very excited to hear the
soundtrack, since he’s a huge fan of our
music format and has selected some of
the most important bands for it.”

Stem will travel the country to pro-
mote the movie and album at radio and
elsewhere, says Gold. “There %vill be all
kinds of incredibly crazy stuff cele-
brating the launch,” he says, starting

already has a relationship with CDnow,
through the development of the Alter-
native Music Guide, which that World
Wide Web site uses to allow visitors to
browse when looking for music to buy.

In other Internet-related activities,
McPartland confirms that the company
has entered into a relationship with the
Microsoft Network to provide music
programming services.

Paradigm has also created a syndi-
cated radio show called “All Access” in
a joint venture with Media America
that focuses on cutting-edge artists in
live performances.

\vith the initial packaging of the album
itself. Of the first million copies
pressed, 600,000 will front the movie’s
promotional one-sheet graphic show-
ing a nude Stern dwarfing the New
York skyline, but w'ith his private parts
hidden by the Empire State Building.

This “key art,” Gold adds, will
become the perpetual cover graphic
after selling-through the remaining
400,000 one-time-only copies, which
will feature in equal numbers three
“outrageous” alternative covers. The
multiple-cover scheme is modeled after
the release last year of the paperback
version of “Miss America.”

Meanwhile, a fifth cover version of
the album will be promo-only and have
hands strategically placed to cover
Stem’s private area. Inserted into one
copy of the fii'st million issued will be a
certificate entitling the bearer to a
solid-gold version of the CD, to be deliv-
ered to his or her home in a Brink’s
armored truck. Additional promotional
and merchandising plans have not been
finalized, but Gold says that in the first
w'eek of release, Stem will call i*etailers
during his radio show' to check on their
commitment to the project

Also still being finalized are plans for
a premiere in New’ York on either Feb.
27 or 28; it will include live perfor-
mances by soundtrack artists.

In the meantime, Stem promises he
will be visible everj'where, including on
the Jay Leno and David Letterman
talk shows, w'here he will promote the
film and soundtrack.

FOX PLANNING START-UP OF KID-VID LABEL

(Continued from page 6)

STERN’S ‘PRIVATE PARTS’ GOING PUBLIC

(Continued from page 10)

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BILLBOARD FEBRUARY 1. 1997

ALL-STARS BELT BIG HITS FOR VH1 BROADCAST EVENT

(Continued from page 1)

the 1996 CITY OF HOPE AU STAR OARAhE BiND

Members of the City Of Hope All-Star Garage Band, pictured together in the
artist's rendering at top, performed at an October fund-raiser to assist the City of
Hope. The event, which will be broadcast March 8 on VH1 , included perfor-
mances by Bryan Adams and John Mellencamp, left, and Sheryl Crow and Ed-
die Van Halen.

about the experience of playing a gala
concert of rock evei^;reens in October
to help raise money for the City of
Hope Center and Hospital.

On March 8, VHl will broadcast the
entire, unedited City Of Hope/All-Star
Garage Band show in what will be the
only airing of the event The broadcast
to be simulcast on radio (via a distribu-
tor to be announced), will provide fur-
ther fund-raising support for City of
Hope with telethon-style breaks
between the songs. Viewers will be
encouraged to make donations to the
nonprofit medical and research center
via a toll-free line donated by Ticket-
master. Those who donate $20 or more
will earn a limited-edition All-Star
Garage Band T-shirt designed by
Tommy Hilfiger and

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